
Glass, 






"COLLEGE CHUM S t " 



A DRAMA IN FOUR ACTS, 



BY 



IRON LEEEINGWELL. 



COPYRIGHTED 1911, 



BY 



ALEX. BYERS, 



NOTE. 

Under the new copyright law the rights of production 
of a play are not secured "by the purchase of a manuscript of it, 
and copying of a copyrighted play and sale of copies of it are 
offences, punishable hy fine, and if done wilfully, hy imprison- 
ment* 

Eor manuscripts of this play, and rights to produce it, 
apply to 

THE CHICAGO -MANUSCRIPT CO., 
144 LA SALLE ST. , 
CHICAGO, ILL.-. 



\ 1 L 



CCI.D 252 42 



1-E 

"COLLEGE CHUMS . " 

A C medy in ?our Acts, toy- tti'ran Lef f ingwell . 

CA3T. 

x , n,**^ Yale '07. Just an ordinary f el- 
John Hammond-- ^ ^.^ p 3d ^ lo0d in his veinq . 

Arthur B 3 gl 3 y His chum. Some blue blood in his, 

Christopher Kurtz Of the Shef field Scientif icSchooi; 

11 ^ who is working his way. 

Prof. Labney S.T.D. 

A Gastl-Lgh SYost Q "Jitney" tragedian. "Superflu- 

a uasxi.ign xut, o ^ s iags tl ^ vat3r ^ n on the stage" 

Brigham Haywood An Idaho Sheriff. 



Kelly Dabney — '^ Professor's Daughter, 

Pauline liatzgar ^° tends the cigar couir 

Miss Hogg- ^o *** B hoarders. 



SY3J0I-SIS 
Tr"irTr"irTrTT*ir*Tr 

Act l:- ■ ' . 

Mew Haven. Garden at ±uss Hogg's. 

Act 2 ' ** 

Kew Haven. Sitting room at Miss Hogg's. 

ACt **~ The Cour d'Alens country. Idaho . Office of the "3-urple 

Monkey" mine. 
Act 4-E , _, , TT 

The Dabney Mansion. Kelly's Idaho Home. 



oooOOOOOOOooo— — 



2-E 

Act 1. 
SCEHE:— Garden at Miss Hogg's Boarding House. 



/ 



7 / 

6/ |!i'll 



M- 



/ -F 




EXPLANATION ■ . , 

II I! II II II IF II II II II II 

1- Street drop for "backing. 

2- Cut wood and foliage. 

3- Lott stone fence a"bout 5 feat in front of Cut Drop. 

4- Gate. 

5-" J-orch overgrown with vines. 

6- Door. 

7" Large set house "dth poroli and steps leading to door. 

8- A large set tree with seat surrounding it down L. of C . 
strongly "braced. 

9- Hammock hung from tree to wing I. 

10- ^/ings. 

11- Steps. 

Ground cloth down, grass mats. The stone fsnce is overgrown 

with shuhbery and hushes. J-ots of plants scattered around. Garden 

"bench down R. in front of house facing foots. 

5IME: — Afternoon, early Spring. 



oooOOOOOOOooq- — 



3-E 

Act 1. 

SCENE: — N s w Haven. Garden zt Kiss Hoggs. 

At rise: — Mr. Frost, a palmy day "Legit" is discovered over in 
hammock L. with, yellow play "book. His silk hat with newspapers 
and manuscript rolls in it is on stage beside him. Frost is 
eccentric "but not "burlesqued. 

Frost 
(Reads.) "■ 

"Out, out, "brief candlet 

Life's "but a walking shadow; a poor player, 
That struts and frets his hour upon the stage, 
And then is heard no more, it is a tale, 
Told "by an idiot full of sound and fury , 
Signifying nothing. 

(Enter Pauline R.U.E. She i s an attrative looking girl, "but 
rather flashily dressed in this act as if trying to make a front 
On very little money. Christopher follows her. He wears dark ill- 
fitting clothes, "but is neat. TT e is pale and agitated on his 
first entrance. 

Chr i s 
Pauline, wontt you listen to me? 

Pauline 
I'm tired of listening, you always say the same thing. 

Chris 
But — 

Pauline 
"Won't you love me." Why don't you love me?" Who do you love 
if you don't love me?" What is there about you that a girl 
like myself should pine away for anyway? Tell me that, 

Chris 
(Turns away.) I - I don't know. 

Pauline 
No more do I. We agree in that. You haven't any money* 

Chris 
No. 

Pauline 
You're not goodlooking. 

Chr i s . 
Never claimed to be. 

Pauline 
You have brains - some braiys. 

Chris 
Thanks. 

Pauline 
Of a certain kind. Not the kind I care for though, 

Chris 
I'm sorry for that. 

Pauline 
It doesn't matter. I don't know a fellow who has as little to 
back him up as you. you have one quality" though, which awes me, 
and fills me with wonder? 

Chris 

And that is 

Your collossal nerve. Pauline 

Chris 
Pauline, I adore you. I would die for you. 

Pai line 
That's very kind of you, but there are too many dead ones 
around now. I'm more interested in the live ones. 



4-E 

Chris 
John Haunond for example. 

Pauline 
John Hammond! (Laughs.) Well, ain't you clever guessing names? 
Chris Kurtz, you're a mind reader. You knew I was thinking of 
John Hammond I John I I always think of him as Jack though. 
(Sighs.) Jackl Ah, there is a man. 

iEVost 
(Reads from another play "book.) 

"His life was gentlem and the elements so 
Mixed in him, that nature might stand up t o all. 
The world and say, "This was a man." 

Chris 
(Surlily.) Say, what's the matter with you? 

?rost 
(Waves hi© back loftily.) Let me alone. I am but talking 
with myself. 

Pauline 
(Takes Chris by the arm.) You'd better keep away from that old 
lobster. He's a "Bug house." 

Chris 
I wish you would stop that slang. It doesn't become you at all. 

Pauline 
ion't you like it? 

Chris 
No„ I do not. 

Pauline 
Then Chris, I'll stop it. I didn't know that you cared. Work- 
ing behind the cigar counter, I hear all sorts of expressions 
and seem to enjoy it, but you are so serious. Chris, you're 
not like the others. (Lays her hand on his during speech, turns 
away at end . ) 

Chris 
(Restraining hero) Pauline, I'm serious with you. You've wound 
yourself about my heart until I haven't a thought in the 
world but you. When I try to study, I see your image pictured 
on every page. The letters all seem to spell your name. 

Pauline 
Truly? 

Surely. 

Pauline 
Then you really do love me? 

Chris 
I worship, I adore you. 

Pauline 
And you want to elevate me - to raise me to your level - to be 
refined - and all the rest of it? No slang - but dainty and - and 
fresh - eh? 

Chris 
Yes , t as . 

Pauline 
Say Chris, where in Hades, did you get that "Kelly." It's Kat- 
eesh. You ought to "tie a can" to it and to those syncopations" 1 
too. Get a gait on. Have some class, or you won't have a "look 
in" with me. 

Chris 
(Reproachfully ,. ) Oh Pauline. 

Pai line 
Oh piffle, paf f le , on your way. Beat it, beat it and let me alon 



Chris 



5-E 

Mis s Hogg 
(Outside in novae R. calls.) Christopher I Christopher! (Enters 
on porch.) Oh, there you are. I might remind you that there 
are duties to preform inside, and you might "be more profi- 
tably employed than lally gagging out here. 

Pauline 
That's just what I've be en telling him, Miss Hogg. 

Mi ss Hogg 
(Coldly,) I'm telling him now and at the same time, I'll tell 
you something. I'd be just as well pleased if you - you Metzger 
person wouldn't come around here wearing a sinful "hat" and 
flirting with my rOaders. Mo matter if they is students that 
pay, oif students that don't pay, but work out their keeps 
as Christopher Kurtz here is supposed to but ain't a doin' -- 

Pauline 
I don't want to come near your hash foundry except when I 
have to. 

Miss Hogg 
Hash foundry? Think of it - to call my hotel a hash foundry and 
I advertise home comforts and all the delicatessen of the 
the season. Are you aware I roast my own coffee-- 

Pauline 
You ought to roast it. T f it's as bad as i hear it is it's 
like your nerve to call it coffee . 

Mi ss Hogg 
Bold, brazen creature. Get of f my land. Your presence blights 
the very flowers in my garding — 

Pauline 
(Looks around.) That ain't so much. 

Miss Hogg 
■Pheir fragrant perfume is lizened. 

Pauline 
Ho wonder with the smell of cornbeef and cabbage from your 
joint. Don't you give the students anything aelse? 

Miss Hogg 
Put her out, Christopher, put her out! 

Pauline 
He "dassent" and if you try it, I'll put a puncture in your 
tire. I'm here on business. 

Miss Hogg 
Business 1 What business? 

Pauline 
None of your business, i want to see Jack Hammond. 

Mis s Hogg 
"Jack# - "Jack" ~ Mr. Hammond is not at home. 

Pauline 
How about "Arty Begley." 

Miss Hogg 
Mr . Arthur Begley is not at home either. 

Pauline 
Either. Well wouldn't that inebriate you? I'll tallfc to King 
Lear here. (Goes over to Frost.) Say! (Shakes his ahoulders) 

Frost 
in® (Starts up. ) 

Pauline 
Move over Romeo. Make room for me. (Frost does to and moves 
over to l. of hammock. Pauline plums herself down on hi8 
R. hand.) Claude Eclair, wilt thou do something for me? 



7-B 

Pai line 
Thanks, and the next time you act in New naven, I'll come and 

3ee you. 

Brost 
Thank you, but T am done with lew ^aven. I 're cut it out 
off my itinerary. I am a big favorite in "South M or walk. " Come 
and see me there. 

Pauline 
I was in front here. T ne y night you played "behind the net. 

l?f o st 
I always play bahind a net. 

Pauline 
The play was "Virginius", I enjoyed it myself immensely. 

Brost 
I am glad to hear it. 

Paaline 
I never laughed so much in my life. 

Brost 
Yes "Virginius" is a rollicking , gingery, frace comedy-- 

Pauline 
Oh, the play wasn't so much. I like "Parted and not ■ Wedded* 
"better. But you were as funny, as funny could be. 

Brost 
v es, I do get a good many laughs in "Virginius." I am a scream- 
ing hit, especially here. Your audiences! Peevish school boys, 
malignant shallow apes, muddy ; ated knaves, reek of the rotten 
fens. They call themselves students. They are sneering diobolical 
barbarians! I loathe them. (Getting moff4 excited,) They have 
curdled the milk of human kindness. I despise their applause! 
I give them back scorn for scorn, hate for hate! (Rises and 
strides around, shouting, ^lie others dodge him.) Uncompromising 
hate! Eternal as infinity I, Black as the lowest depths of Hell! 
Such is the hate that gnaws me, gnaws me, gnaws me. (Grabs 
Pauline by the wrist suddenly anot.) Say sister, you haven*t got 
a stamp about you, have you? 

Pai line 
(Alarmed at Frost's manner.) Bo - no I ain't got nothing. What do 
you want it for? 

Brost 
I have just this moment decided to go into vaudeville, I 
wabt to book my time. I'll take you with me. You shall support 
me - - 

Pauline 
Nothing doing. It's all I can do So support myself. 

Brost 
I will do Samson and Delilah in tabloid form. I want a Deliah. 
A Sedutive - vampiris h siren - a devil in petticoats. Where 
shall I find one? 

Pauline 
Try your landlady there, Miss Hoggs? 

Hi ss Hoggs 
The idea! TO chris.) I could have arrest her for that. 

Pauline 
He Ho. Day here comes Jack Hammond now. I'll give him the ci- 
gars myself. (Grabs package away from Frost , runs up to C, 
exits R.U.E.) 

Miss Hoggs 
The forward creature* She'd take any excuse to come here and 
carry on with my boarders. I'd think Mr. Hammond would have 



8-E 

&Or*e sense than to look at her, and then --rrr. Begley shakin' 
dice with, her, she scandalises the community. 

]?rost 
(Half to himself.) I«ll do it: I'll do it! I'll take the act 
down to Bridgeport and try it. on the "Dog." Miss Hoggs? 

Miss Hoggs 

Mr. SVost'. 

Frost 

A confidential word in your ear. 

Miss Hoggs 
Is it 'about your b^a-d bill? There's tlr ee weeks due now. 

Frost 
(Airily.) A trifle! Don't think of it. I assure you, I don't. 
This is a matter of importance. 

Miss Hoggs 
So is the bill. Three weeks at seven per, makes twenty one 
dollars, and I have to pay my rent on the first. 

Frost 
You have be en in my thoughts much of late* 
.: Miss Hoggs 

A nd you have be en in mine, -provisions is high. 

Frost 
you must feel you are following an unproftable game. 

Miss Hoggs 
I°d feel better if you were more prompt. 

' Frost 

Did I ever tell you what my friend Belasco did for Mrs, Carter? 

Miss Hoggs 
■No. Did she keep a boarding house? 

Frost - 
He devolped her art by hauling her half way across the stage 

hy the hair. 

Miss Hoggs 

Mercy.' 

Frost 
I would do asmuch for you, if I thought I could make fifty 
thousand dollars a year off you. But soft (Looks at Chris) Men- 
ials mustnot overhear our "heart to heart" talk. Gome, we 
will go into your parlor and "I will a tale unfold whose light- 
est word etc. etc." Sir Henry Irving Once Said to me 
at the "Haunch and Skewer." Gcfstleigh, me boy "Pipe his jags 
your valet. He's rubbering, Gastleigh, rubbering. Let us dissem- 
hie Top 1 till we make our exit. So we'll dissemble -Hoggy - 
Old girl, we'll didsemble. (-Frost leads Miss Hogg off into 
'house.) (John Hammond enters R.U.W. with Pauline. John is in 
"boating fannels.) 

John 
Of course, it is is as you say , Pauline, I will accept Arty's ■ 
present, but. --(Pauline indicates Chris apparently checking 
John from continuing.) Eh ? (Sees Chris.) Hello Chris ,were you 

out to the trail races? 

Chris 
fto. (Shortly.) I have no time for frivolous amusements. I'm at 
college for work - not nonsense! 

John 
Well, if you don't think pulling a b ,at is work, you ought to 
get out a ni try it. Don't be such a grouch, Chris. Here, have 
a cigar. (Starts to undo package.) 



9-E 

Chris 
Ho thank you. j don't smoke cigars. 

John 
Ho' 

Chris 
No. I cannot afford them. 

Pauline 
A student lamp is more in Chris's way. 



John 

Pauline 

John 



A student lamp? 
Yes , a cigarette. 

Oh, I see. 

Chris 
X can't afford cigarettes, either. 

John 
Confound it Chris, you're getting worse and worse. You exult 
in your poverty and keep throwing it up to everyone as.it 
"because of it, you are somebody apart from your neighbors. 
You're not the only one, there are others who are poor. Don't 
think you are specually distinguished. I could tell things about 
myself if I wanted. 

Chris 
You don't wait on the table. You don't clean knives and --ash 
dishes in Miss Hogg's kitchen. You're not called a Menial as 
I am just because I am. trying* to work my way through college. 

John 
I never called you a Menial c^is, an d indeed I never heard 
anyone else call you that. 

Chris 
That "ham" tragedian G-astleigh Frist, call me one five min- 
utes ago. 

John 
Oh well, hes-not responsible. He's lived 'n an imaginary 
world so long, that he can't c erne down to earth. TT e carries the 
tinsel and painted canvas of stage lands into the TT most ordinary 
affairs of life. He can't separate one from the others. Think 
of what the poor old fellow's been through. The bad parts, 
he's had to study, they must hant him. "Robber thief s , and 
bandit kings, bloody barons, and stand pat statesman." He's 
only a step removed from thelunatic who imagines he's Napoleon 
Bonaparte, or a poached egg. ih- e °nly difference is - one is 
in a mad house, the other isn't. 

Mis sHoggs 
(In hours.) Christopher! Christopher! 

Chris 
Yes. 

Miss Hogg 
Qome into the house immediately. 

John 
By the way, old man, drop this box into iny roo, as you go in, 
won't you? (Gives Chris box. - x e tak?s it without a word and 
exits into house. ) 

Pauline 
Don't you know what is the matter with him? 

John 
His liver is bad, I think. 

Pauline 
He's jealous. 



10-B 

John 
Jealous of what - of whom? 

Pauline 
Of you and met 

John 
I MKdon't understand. 

Pauline 
He's desperately in love with me. 

John 
Is he? Poor fellow! x didn't know things were as "bad as that, 

Pauline 
^nd he thinks you are .in love with me, too. 

John 
"here did he ever get that insane delusion. Did you set him 
right? 

Pauline 
No. 

John 
Why didn't you? 

Pauline 
It was too much fun. 

John 
But the fun is all on your side. Where do I come in? 

Pauline 
Oh, I don't care about that. 

John 
what a sweet girl you are. 

Pauline 
Besides, while he has his eye on you, he'll never think of Arty. 
I wouldn't like him to guess the truth about Arty and me, 
"because - "because - 

John 
Yes. 

Pauline 
Because Chris Kurtz is really a dangerous young man. He wouldn't 
hesitate to stick a knife into Arty in he caught him at 
night up a dark alley somewhere. I wouldn't like Arty to 
get hurt. 

Mo more, should I. But fromJwhat you tell me about Chris's 
"blood thiesty longings , I must say you are making it infernally 
pleasant for "Yours trult." I'd like awfully to serve Arty, 
because he's my chum, but that "Night and dark ;al ley business* 
gets on my nerves. Couldn't you turn his suspicions on someone 
else. Gastleigh Erost for in 'tance? 

Pauline 
what , that old fossil? Eot on your life. 

John 
I appreciate the compliment you are paying me, but I think poor 
Chris had better be undeceived. Why do you taltalize the boy? 

Pauline 
Oh, just to get even. 

John 
Even? 

Pauline 
Yes. I have to take it out on someone. 

John 
Take what out? 

Pauline 
A grouch, I»ve got. You swell fellows think here in New Haven, 
that a girl who works as I do has no feelings. You flatter and 



11-E 

you jolly Her, and she falls for your glad rags, your xomedy 
and your bluff . You don^t mean anything serious We're fair 
game with you college bous. We're your amusement for your idle 
ISurs! Yo/go away and forget us . Oh , I 'm wise, I know, I know. 
We ain't in your class, and you don,t marry us and take us 
home to your famulies. You he ashamed. We can't get hack to 
vou fellows as we'd like to, so we are apt to pass it up to 
the hone hous. The shoe clerk, the honest mechanic, the factory 
hand the men we marry when we're lucky enough to get husbands, 
and so we put them on the griddle, and watch them squirm and 
give 1 them a taste of shell fire, hecause we can't hand it to 

you, 

John 
Pauline, I domt want tod efend myself , and I know that we 
have some hla ckguards among college men, Taut they ire not all 
alike. I-auline, you are a hright girl, you are an attract ice 
girl, and -- 

Pauline 
D0n t t hand me that. 

John 
My dear child, I an not handing you anything, except some 
good advice. You have philosophy mixed with your cusseddness. 
You say "You are wise" you know that fire burns. Why do you 
stick your rosy taper fingers into the flame? How long have you 
known Chris? 

Pauline 
Since childhood. My father and his came cross from the old 
country together. 

John 
And your father thinks well of hi©? 

Pauline 
Oh, yes. They are mixed up some way together, in some sort 
of a lodge of social politics or other.. Dad says, that Chris 
is going to do big things in the world* 

John 
I hope he may, **e is an earnest student. He's particularly 
distinguished in chemistry, Ihear. You say he cares a great 
deal for you? 

Pauline 
• (Simply.) Why of course, he does. 

John 
Well, why don't you care for him? 

Pauline 
I do a little - but - Oh, what's the use? 1,1 willing to be a 
s'sis;er to him, but there's Arthur - you see. You surely wouldn't 
compare Chris Kurtz with Arthur ^egley , wouldn't you? 

John 
It wouldn f t be fair for me t^ compare him with Arty Begley 
because Arty is my' chum. A kind brother so to speak, I 
would be prejudiced. But you are not thinking seriouslu of 
Arthur, are you my child? 

Pauline 
Look here. Dontt "child# me. That-Qfatherty " gag of yours 
don't go, (suddenly with temper) T see how it is. You'd like to 
queer me'with him. Sou don.t think I am good enough for your 
friend. You,ve got the prejudices of class, dad talks about. 
YOu«ra like the rest. (Bursts out crying.) 

John 
Pauline, Pauline, donit, don't! I b 3j--(ihde«.Vvrs to tauie ner 
nana. Cnris enters from house sees action.) 



12- E 

Pauline 
Let me alone. I don't want you to touch ins. It's ijarriagel 
want and it's honorable marriage I'm going to have and if you' 
do anything to make me loose my hopes , or make my friends ash- 
amed of me , I'll pay you up Mr. Han, i I have to keep it up 
till my dying day. (Exits R .U.E.) 

John 
Well "by thunder. (They see Chris.) ITello Chris. Did you hear 
that ? 

Chris 
(Remains silent, glares at him.) 

£ohn 
You? -To hell with you, (ExitsR.U.E. ) 

John 
Lonely, lonely.' (Yurns over, sees Frost's hat.) Hello. A hat. 
Vintage of 1898. I never see a hatlike that, but that I want to 
take a kick at it, but with the luck I have to-day, beaten in 
the trial races, abused by the coach, hauled up before the 
faculty on account of Arty's debt to Moseheirmer , roasted by 
Pauline, and sent to a warm climate by Chris. If I kicked that 
hat, there would be sure to be a brick in it. Ho^ (Examines it) 
Documents and newspaper clippings. Ah, Frost's hat. I wonder 
if he's as bad an actor as they say he is, poor old scout. (Reads 
newspaper notice. Sits on tree bench, haton knees.) "Frost the 
tragedian opened last night. He also closed. The others were 
good." (Reads another.) "Frost appeared on the incubating circuit 
supported by a company of "high binders ". Frost knocked his, 
audience cold. He always does. "(Read- another* ) "Sad case. Frost 
lead ing lady breaks her, breaks her engagement.. Manager is in 
a padded cell. (Frost enters f r jm house sees John goes over to 
him, grabs hat away from him.) 

Frost 
Profane and snakey dastard* Would 1 s$ pry into the secrets 
of my mystery and make me a jeer -a scoff - a scorn, to be 
baited by the rablle's curse. 

John 
Beg pardon, come again. 

"Avaunt and quit my sight 

But — 

"Let the earth hide thee. 

Say- 
Fro sy 

Hence, horrible kshadow. Unreal mockery. Hence. (Exits into 

house.) 

John 

(Pause*) I seem to be "in bad" there too. 

Miss Hogg 

(in house.) Oh, he's out there is he? (Enters from house.) Mr. 

Hammond, I was just thinking of you. You are always pro pt pay, 

but your roQm-mate-- 

John 

Arty? 

Miss Hogg 

Yes. Mr. Begley is somewhat tardy. I hate to make "odorous com- 
parisons" but altho* his folks is rich and you ain't got no- 



Frost 
i 

John 

Frost 

John 



13-E 

folks to speak of. men you are paid up, he,s always behind andl 
want to tell you that the whole business has got to be stopped. 

John 
In th*r words you want a "better average. Either Arty has 
got to "be more prompt, or j must fall behind a little- 
Miss Hogg 
(Severely.) _hat do you meaii by that , Mr. Hammond? Are you 
hinting that "you may be deleterious in your pay too? 

John 
Oh no, Miss Hogg, only a little joke of mine. 

Hi ss Hogg 
You might be better employed than joking a poor lone woman 
who has her living to make and who malignant boarders may 
drive her On the stage to earn her daily bread. 
On the stage I Miss Hogg, yoilo&an't mean it? 

Mi ss Hogg 
My intentions are serious J, Mr, Erost said that Garter woman 
made fifty thousand- a year* j would be satisfied with forty; 
but to return, Mr, TJ ammond , to what is nearest my heart, I 
expert you to influence your chum and room-mate to pay his 
bills more regularly. 

John , 
I - I influence him Why don't yuu talk to him yourself?- 

Miss Hogg 
I respect his family and I don,t want to hurt his feelings. 

John 
But— 

Miss Hogg 
Of course, if you won°t do it - you won't, but I expected 
you'd have some of the finer feelings. But no - you'll occupy 
apartments - when one half of them ain,t paid for. You'll stuff 
yourself with my luxuries of the season and your intimate 
friend owes me money-- 

John 
But he owes it, doesn't he? I dont . 

Miss Hogg 
It doesn't make a bit of difference. jTe»s your friend and if 
you don't make him pay up, Mr. -pammond, you ain't the man I 
took you for. 

John 
My dear Mi ss Hogg — 

Mi ss Hogg 
Don't "dear" me* I ain't to be "deared." You pretend to be a 
friend of your friend. Tf you was a friend you would encourage 
to do what is right and honorable and pay his debts. You ought 
to be ashamed for him. Don»t be so stuck on yourself. Remember 
what the good Book says about stiff necksx "I-harasees and sich — 
(Exits into house.) 

John 
EextJ I wonder who's next. In in bad with--(B gley enters 
L.U.ElJ Hello Arty-, 

Djgley 
Hello Jack! (Begley looks agitated.) 

John 
"hy, what's the matter? 

Begley 
Letter from the governor. Things are all -\rong. 

John 
How wrong? Hobody ill at hone , is there? 



14-E 

• Begley 

Ho, He didn't Sent me any money, say-;, I must live within my 

allowance. 

John 
Well, that isn't much "bad news. You ought to do that* By the 
way,'l was hauled up "before the "Press" this morning-- 

Beg 
How was that? 

John 
Your Mosenheimer "business They got the names mixed somehow. 
Mistook me for you o Mosenheimer ' s collector, demanded his Dill 
he paid immediately and -- 

Begley 
What did you do? Refer him to me? 

John 
Eo 7 I went around with him to his lawyer and paid the bill, took 
the receipt. Here it is. I took the liberty old man. It cut off 
all scandal. It was the easiest way. You can pay me when 'you 
get the money* 

Begley 
That infernal swindler Mosenheimer 1 I won't patronize him again, 

John 
Mo t I wouldnit. Say Arty, hu # touch do you owe Hfiss Hogg? 

Begley 
I don't know. 

John 
Don't tyou think you'd "better pay her a little on account. She's 
apt to "be short,, you know. 

Begley 
I hav en ' t any mon ey . 

John 
I haven't very much, hut I'll squeeze twenty out for her. Take 
it and give it to her, will you? (Handshim hill.) 

Begley 
Of course. 

John 
And there's noahter matter. 

Begley 
^at's that? 

John 
Pauline. 

Begley 
What ahout -pauline? 

John 
Don't you think you'd "better cry a halt for her. 

Begley 
I don't know what you mean? 

John 
The girl has partly confided in me. Arthur, she knows that you 
and I are pretty close friends, and I think she has the idea 
that I am trying to influence you against her, You k understand 
of course I don't want to do thhat , hut --(Pause.) 

Begley 
But what? 

John 
You regard the affair as an ordinary flirtation, and she -- well. 
it has grown to he so serious matter with her, and the condition' 
will soon present itself thatyou will in deference to your own 
manhood and sense of honor give her your name - or - 



15-E 

Begley 
What I Marry her? 

John 
Jack, as the Englishman saygfii "Are you spoofing ras?" 

John 
In was never more earnest in my life. 

Begley 
Marry a girl of her type, take her hoke to the Governor, introduce 
her into my set? Well, that would create a sensation. 

John 
Then you have the choice of two other alternations. you can 
hreak off matters now and give her a chance with a certain 
good square honest fellow, viio will he glad to take her for 
the good qualities he e >3S in her, and pass over the slang - had 
grammer , family antecedents - type, and all, or you can go on 
and do the devil's work. You can compromise her, you can make 
her a thing of reproach, to her folks, you can "break her heart, 
degrade her, in short you can do everything that the thorough 
paced h lack- guard can do; hut if you act the part of one, Arty 
Begley, I can't call you my friend. I'd wipe you off my calling 
list. Even if you were my owi "brother. 

begley 
Why jack, I never knew you were so unsophisticated, and you who 
have lived out in the world and had your freedom "before you 
came to college. 

John 
yes, I. worked for the money to take me through here, and f was 
free to live y life as I saw it; hut I never lost my reverence 
for the sex that gave me a mother, Arty, and I trust to God 
I never will. 

Begley 
yes, I guess you're the kind of a fellow who will he a mark all 
your life. You've given me advice. I could give you some. You 
have natural advantages and properly introduces into my set, 
you might copp off a girl with money, hut you are falling over 
head and ears in love with Belly Dahney., the Professor's 
daught er . 

John 
Cut, that , Arty. 

Begley 
Well, you are. You're the mushiest case I ever saw. The old 
Professor, I hear is going to he asked to resign at the end 
of this ter m« if you marry her, you'll have to take care of 
them "both, A nice mill-stone you are preparing to hang around your 
neck. (Enter Chris R.U.E. He carries a cigar "box, stands watch- 
ing them. Continuing.) Oh, "by the way, who is the good, honest, 
square fellow, who wants to make lauline his wife? 

John 
Chris Kurtz. 

Begley 
W e ll, if she comes "bothering you with her troubles again, 
tell her to marry him. 

Miss Boggs 
(Enters from house*) Ah, Mr, Begley, you're here are you? 
There's a telegram inside for you. 

Begley 
Telegraml (Starts to house.) 

John 
(^hir^ers, catches his arm.) Give her the twenty now. 



16-E 

Begley 
Eh? Oh. yes, "by the way Hoggie, dear, hereis a sawbuck for you 
on account.. (Handing money.) 

Miss Hogg 
(atking it) Oh, don't trouble yourself , ]\jr. Begley. Any time 
■ will do for you, 

Begley 
I'$ glad to hear that, Miss Hogg. 

Miss Hogg 
Oh yes. (Glares at John.) pjid it wouldn't be well for me to 
hear anyone insinuating different* 

Begley 
Excuse me. I'll get my "telegram*" I wonder what is in it. 
(Exits into house*) 

Miss Hogg 
(Sees chris. ) You're still loafing around', Mr. Chris. T fyou 
can't attend to your work, I'll get someone who can.. (Enter 
prof, and JTelly L.U.K. John goes to them.) 

Chris ' , 

The sooner you get someone tor eplace me, the better I will be 
pleased. 

Miss Hogg 
what do you mean by that? 

Chris 
Just what I say. 

Miss Hogg 
Are you tired of your joh? Are you tired of being pampered and 
p et t ed — 

Chris ■ 
I'm tired of the whole business. I'm particularly tired of 
your vinegar voice, and your face always reminds me of a 
plate of cold victuals* 

Miss Hogg 
Tkke your belongings out of my establishment before night, 

Chris 
I'll have them out in fifteen minutes. 

Miss Hogg 
You ungrateful scorpion, I scorr. you.' (Exits into house) 

prof. 
(Mildly.) Chris, my oung friend, will you allow me to-- 

Chr i s 
Pardon me, professor, but this is entirely a personal 
matter and out of your jurisdiction (exits into house) 
He ( S a surly fellow papa, a&ilupwrothy the kindly, interest 
you would show -him, 
, • prof. 

ut tut, Nelly. w e's a bright boy ? he only lacks the virtue of 
self control. Some witty Frenchman said our "Vices are our vir- 
tues carried to excess 1 " and it is true. A bad temper is merely 
a strong will uncontrolled. ™ r e are full of forces. Out of the 
soul come desires like strong currents of electricity - stream 
of powers.Itts foolish to call ny of them bad. The Creator made 
them. These forces are what make a man - a real man . They are 
steam in a boiler, 

Belly 
You were not like him, -when you were his age. 

prof. 
U-o_, if .1 had been, I would probably have not been such - such - 
an old fat head. 



17-S 

Belly ' ■■' 

(Horrified-*) Papal 

It of. 
T certainly would have succeeded "better in life. Ah, my child, 
so many persons are spoken Of for their goodness who is r-eality 
4re nothing. They have no force - no passion - no strong de- 
^slres - no fise - no go. Their heads are stored with choice 
mutton. It's a travesty on virtue to call such as these, vir- 
tuous, 'i wish I had "been "born more pugnacious. 

Belly 
Papa! That is not of the gospel of love and peace? 

Pr of . 
My child, no one can love, who does not know how to hate« 

John 
what, is the old saying Professo-, "All the world loves a lover." 

prof. 
The worldloves a good hater, and has no use for the love that's 
notf carried along by the flood of enthusiasm for one thing, 
into sweeping opposition to other thing^s. For example, no 
man loves truth who does not hate lie. (Sighs.) W e ll dear, I'll 
go inside, j want to write a couple of letter, ^hen tea is ready 
call me. (Exits into house.) 

Belly 
Poor papa, I know he's worried, although he tries to conceal 
his trouble from me • 

John ' 
Tell me ftelly , what is there in the rumor? 

Belly 
That he has been asked for his resignation, ^t is trite, he 
leaves at the end of the term. They have treated him unjustly, 
dnuelly, and we will probably go out West to my uncle. Oh, I 
don't care T ack for the possible pinch of poverty that we may 
have to endure, I could meet it with a smile, and cheerfully 
do my best to help him, but the blow to his pride is severe-, He 
feels it keenly , I know. 

John 
Let's walk to the further end of the garden, Eelly, and talk 
of ways ani plans. You know if you are going to make me 
your big brother, I mustn ' t be ke]bt in the dark in anything. 
(P TT ts his arm in hers leading her. They exuent L.3.E. behind 
hammock. Chris enters from house with cigar box wrapped in 
brown paper which Pauline has brought on at beginning of act. 
Hq unwraps paper, looks around carefully goes up to bushes on 
L.U. ^here he has concealed the other box oh his Hast scene, 
he handles this box very gingerly, he wraps it up in the paper 
of the first box, and then leaves it on bench in front of 
house. Pauline appears up at back during the business of sub- 
stituting one or the other* He takes up first box and hides it 
ih bushes, she draws back concealing herself*) (He returns to 
bench, lifts up box which he haswrappedup and is about to ^exit 
into the house, when Miss Hogg appears in the doorway.) 

Miss T Iogg 
(Bar-s his entrance.) Where are „ -u g oinga? 

Chris 
To take John Hammond his present from Pauline. 

Miss Hogg 
I thought you had taken those beastly cigars to his room al- 
ready. 



18-E 

Chris 
No. 

1H.3S Hogg 
Well, I don't wanr your swooping around the house mo more than, 
long enough, to pack up and get out. I'll take this package xx&ra 
myself and leave it in Mr. Hammond's room. (Takes "box from Chris 
and exits into the house.) ■ 

Chris 
(Looks after her and laughs, then turns up stage, meets Pauline 
who has lifted other "box out of pushes and examines it«) 

Pauline 
(Holds out "box to him. ) Say , what in the biases are you up to 
anyway ? 

Chris 
Ah, you say? 

Pauline 
Yes . 

Chris 
All the better* Ttfhen your lover gets to Kingdom Come, jaou will 
know you had a hand in sending him there. 

Pauline 
Chris, are you crazy? 

Chris 
Almost is not quite. 

Pauline 
What was that box you put in the platfe of this? 

Chr i s 
Do you want to know? It's a little idea of my own. 

Pauline 
mhat was in it? 

Chris 
An eight ounch vial .of picric acid, some clay, a little gun 
powder, matches and sand paper, when your dear .jaesk attempts to 
sample your gift, theopening of the box will scratch the matches 
on the sand paper, the powder will ignite, the concussion will 
jar the picric acid and-- 
An Pauline 

xstx- infernal machine. 

Chris 
Exactly I 

Pauline 
You murderer, you madman! Wlaat do you hope to gain by this? 
Revenge «n Jack Han mond ( Jack Hammond is nothing to ,me. 

Claris 
You told me, he was 

Chris 
I lied to you. 

Chris 
I heard you talk with him. You're lying now. (Pulls out his 
handkerchief.) 

Pauline 
He is an innocent man. 

Chris 
rphen name the man you really love? 

Pauline 
Why — (Pause.) I will not waste further words with you. 1*11 
warn him of his danger, and you, I will denounce you to the law. 

Chris 
(Produces vial, saturating handkerchief.) Try it, and you'll 
send your own father to a felon's call. Ah, we are joined, your 



19-E 

father and I , in the "brotherhood of "blood. We devote our "brains, 
our lives to the removal of the 30iC enemies of the social revol- 
ution. 

Pauline 
(Rushes ap steps of house.) Open, I say! Help, help! (Chris 
runs after her, grabs her from behind "by the throat, stifling 
her cries, drags her up stage. He holds handkerchief over her 
face, she finally falls stupifiied, he lets her down "behind wall 
at "back L. of opening concealing her from view. Enter Begley, 
he carries suit and hand "bag, cane, umbrella, coat, etc Pretty 
well laden down, prof. Dabney and Erost following him on») 

Erost 
Therei s no questions, my boy, you must go by the first train. 

Begley 
Of course. (Chris is behind felce at back. Begley sees him.) 
Oh Chris, see if there,s a taxis or a hack in front of the 
hotel, will you? (Chris exits R.U.E.) I wonder where jack is? 

prof- 
I left him here withJJelly* There they are, (Pointing off L.) 

. * Begley 

Jack, jack, come here- 

John 
(Off l. ) Hello, what's the flatter. (Enters L. with Nelly.) 
(Miss Hogg appears on the doorway.) Are you going on a 
journey? 

Begley 
yes. Eather has met with a serious accident. I had a telegram. 
Say, will you let ms have some money? 

John 
Surely. (I-ulls out bills and hands some to Begley.) 

Begley 
I'll stop at Pauline's and get some cigars. The trainer's cut 
off my smoking, but - but this is somewhat different. 

John 
Ahem! You needn't stop at Paulines, Arty. I have the box you 
sent to me from her. You shall have itg 

Begley 
I don't want to rob you. 

John 
Not at all old man, I would much prefer you having that box, I'll 
get it. It's in my room. (Starts for house) 

Hiss Hoggs 
It hasn't 1© en taken to your room yet, Mr. Hammond, Here it is. 
(Steps inside of door. Re-appears with box. jjands it to John.) 

John 
Thanks, Will you have one now. (Apparently about to open the 
box.) 

Arty 
No on the train will do. 

John 
Room for it in this bag? 

Begley 
Yes. (John opens the club bttg, puts in the box, and then snaps 
the bag. ) 

Chris 
(Re-enters.) There's no taxi in front of the hotel. 

Begley 
Then I'll have to take the street car. I must get thatnfirst 
train. Chris! r^ive m e a band with my baggage, will you? (Hands 



20~E 

Chris "bag containing "box and suit case, in faist nearly everything 
except cane.) Well, good-bye everybody. (Chris exits R.U.E.) 

Begley 
(Shakes hands all around, starts up stage, Pauline rises half 
dazed.) 

Pauline 
Ar "ty, you - you are going away? 

Begley 
Yes, what's the matter with you? (Noticing her condition) Good- 
bye, haven't time to talk now. 

Pauline 
(Clinging to him.) Save Jack, save him. That box - danger, Ohl 
(Staggers.) 

Begley 
She is talking about you Jack. You attend to her, won't you? 
(Breaks away from her, ratherimpatiently . She reels and John 
supports her.) 

John 
What is it, Pauline. What is the matter? 

Pauline 
The box of cigars. Give it back to me, won't you? 

John 
I give it to Arty, It's in his traveling bag* 

Pauline 
My God, my God J 

John 
Chris is carrying it to the station. (Loud explosion heard off 
R.U.E. Erost and Begley rush off R.U.E. prof. Babney follows. 
Exclamations from everybody. General excitement. Pauline has 
fallen on her knees, and is clinging to Jack sobbing..) 

Prof. 
(Re-appears.) Phone for a physician quick. (Miss Hog exitws 
into house. ) 

John 
What has happened? (prof, points to R.U.E. Begley and Erost app- 
ear bearing on Chris whoc 3 face is blackened and bleeding. 
Clothes torn showing the effects of the explosion. They lay him 
down R.C . ) . 

Prof. 
That is a mystery. If he lives he will always be a cripple. 

Pauline 
(shudders.) The rath of God, in payment for his sin. 



iC U R T_ A I B 

!1 II tl II II II II 

Positions:-Miss Hogg is on steps. R. Erost, Chris, Begley and 
Babney are R. Pauline is C. Jack and Belly L. ) 



oOoOOOOOOOooo--- 



ACT II 

Three months later. New Haven. Sitting room at 
Hogg'sfl comfortably furnished interior. 



Iiss 



Interior backing 

_ . .; ^. Interior backing 



__, 5 



\ 



8 X L_9 — I - X8 




(i) French window curtained C at back. 

Exterior backing, (2) Arch R of C- — with steps leading up 

to platform, Platform runs off R Interior backing. 

(3) Door DUE (4) Door R, L. E, (5) Arch Interior backing 

(6) Steps (7) Fire-place, (8) Chairs. (9) Table 

(10) Sofa. (II) Interior backing. 



oooOOOOOOOooo 



2-S 

ACT II 

AT RISE: — John Hammond and Arthur Begley are discovered 
seated R and L of table R) 

John, 
(in chair R of table.) Arty old man — I'm glad to see you 
back, but I wish for our own sake you had brought better 
news .. 

Beg. 
I couldnS bring much worse could I? 

J ohn . 
And your father is in the- sanitarium. 

Beg. 
Yes, they put him there after he made tiiat unsuccessful 
attempt to kill himself. 

John. 
What ever drove him to that mad act? 

Beg. 
His business troubles. He was beaten in the law-suit on which 
depended every dollar he had in the world, and when he was 
deprieved of his "God" he was "buffaloed." You see the governor' 
afairs have been going from bad to worse for some time. 
I never realized the condition of things until the lawyers 
opened my eyes. I've got to earn my own daily bread. Think — what 
a prospect. And I haven't trained for the event. Isn't it 
lovely? 

John. 
Oh well--dOn't give up. You know fate sometimes hammers us to 
■ find out whether we ring of the true metal.. 

Beg. 
I wish s^e had lost her hammer before she got a chance 
to knock me. It's "Commencement" to-morrow — 

John, 
Yes-- 

■ ■ Beg 
You get your sheep-siiin and I don't. 

John, 
You might make a plea to the faculty considering 
the extraordinary circumstances, and ask for a special 
examination. 

Beg. 
Ye Gods£ Where would I get off, if they concluded to give it 
to me? 

mJohn. 
Why "cram" and pass it. I'll stay over a.nd coach you. 

Beg. 
My dear Jack, I have been in the "saddle" for four years. 
I hate the sight of a Latin crib, or a Greek "Pony." 
If it hadn't been for your help, I never could have flunked 
through so far. But for me to attempt to go up before those 
classical, amthematical philosphical and philogogical 
auatomists — alone — I'd feel as if I were on a table in a 
clinic with an army of vulture vividrctionists around 
me all clamoring for the first chance at my vitals. 

John D 
But Arthy, what do you rporpose to do? 

Beg, 
"Propose" Yes, that's the word "Propose," Well, if it wasn't for 
a certain obstacle, I'd propose to the first femal who 
had "Dough" enough to adopt me? 

John. 
Talk sense — Arty? 



3- 

2-S 

% 

Beg, 
I*m talking dollars, that's better? 

J ohn , 
You're not the man to marry for money anymore than I am. 

Beg. 
Ahl You're still thinking of lore "in a cottage" Honeysuckle 
over the proach, "bread and cheese and kisses, with that amiable 
nomentity— Nelly Babney," ' 

John, 
Stop that J (aroused.) 

Beg. 
"Dabney" that name makes me grit ray teeth everytime I 
think of it . 

John. 
Then I'd stop thinking of it? 

Beg.- 
"Dabney" is the name of the man who beat the father in that 
law-suit and has brought me to the border-line of tra mpdon. 
Damn Dabney, I say, and all his family, 

John, 
I don't see why — he may have had right on his side, he certainly 
had the law— where was the case tried? 

Beg. 
In the North-west in Idahp — in Dabney 's own stamping grounds. 

John, 
"What was the case about? 

Beg 
The ownership of mines* 

John. 
Was Richard M. Dabney the man? 

Beg. 
Yes, ever heard of him? 

J ohn , 
I shoula say I had, he's the power in that section, and he's 
Nelly's uncfe and the. prof essor ' s only brother. 

Beg. 
(In affedted s urprise.) Well — by thunder! No wonder I 
don't like them, 

John, 
The professor and he are not on good terms, haven't seen each 
other for years. 

Beg. 
I don't care for that, they are of the same blood, 
I'll have to swear the venaetta against them, (half jokingly) 

J ohn , 
Arty — you're a great big baby. The professor's present troubles 
would command the sympathy of anyone but a yellow wolf. 

Beg. 
What is he going to do, now he's lost his job at the university, 

John, 
He has an idea of staying here ana coaching back -ward 
students, A poor outlook. 

Beg. 
I suppose Nelly will stay too and help her father out by working 
in a bakery, unless you marry her anu take her away with 
you. 

John, 
Arty — I love Nelly devotedly, but until my own position is 
assured, I wouldn't dream of as ing her to be my wife. 
But I'm going to toil with the hope of winning her in the 
end. 



4-S 

Beg. 
v ery commendable. Speaking of lore, have you seen my lady 
friend of the cigar counter here of late? 

J ohn . 
Pauline? No„ 

Beg. 
nothing's been done about that explosion mystery. 
(Miss Hoggs enters R sits down) 

John. 
Nothing has eve re been explained- Both Sauline and Chris 
during the investigation were daggedly silent, and after it, 
Pauline mysteriously disappeared leaving no trace. I could 
tell nothing. You 'were absent There wasn't enough of your 
travelling bag left to "wad" a gun, and poor Chris is a cripple 
for life. 



Beg. 
"Poor Chris" as you cal him, was probaly carrying around an 
Anarachist bomb with him, and got what he deserved? 

Miss Hogg. 
That's what I say. He belongs to a bad set. Them furriners 
are awful.. They ought to take him and that Pauline Met zgar 
and her father and the whole crew and set them do wn 
on a "deserted island, and let them blow each other up until 
there was nothing left to blow," Them furriners, have no business 
here among us. 

John, 
Where were you bron, Miss Hogg? 

Miss Hogg 
In "Birmingham" dear old England. God love her. 

John, 
Oh, I see, you're an English Hogg, not a German Hogg. 

Miss Hogg 
I'm a "Brummagem" button why do you ask? 

J ohn , 
Chris and Pauline were both born in America, that's all, 
(enter Prof Dabney and Nelly R) 

Prof Dabney, 
Miss Hog- -what is this — you have been saying to Nelly? 

Miss Hogg 
I have been saying just what I meant, Professor. Your mouth 
is up to-morrow, and I woula like to have your rooms. Of course 
you may mean all right, but I ain't taking no chances. You've 
lost your job at college, and really I don't see how 
you're going to pay your wgr. 

Prof Dab. 
I have al' ays paid it Madame? 

Miss Hoggs 
I ain't denying that, but things as was, and things as 
is to be— is— very very different. There's Prost the tragedian, 
he never thinka of paying(Prost enters R) 
he's got me used to the idea. I don't look for no money 
from him, but you have always been £o punctual, if you 
fall down on me I couldn't survive. And without visible 
means of support you're bound to hand somebody a lemon. 
I don't want it, so I thought I woula let you down easy* 
by te lling your daughter. 

Frost 
(half to himself,) »My daughter, oh my daughter! 



5-S 

Miss Hogg 
Mi* Frost 1 

Frost 
Brabant io t the Duke, second scene. 

Miss Hogg 
Besides Prof Dabney I'm going to close up the h use for 
the summer anyway. I am going in "Vaudeveal" with Mr. Frost . 

Frost 
"Angels and Ministers of Grace, defend us." 

Miss Hogg 
■What 's that? 

Frost 
AhemJ Hamlet to the ghost, fourth scene. 

Miss Hogg 
I am to fo Delilat o Mts Frost's Samson. My costpne arrived 
this morning* I intend to wear it around the house and get 
use to it. I feel so fo lish in it now. 

Arty 
Who's looney now? 

Miss Hogg 
Yes, I feel like a perfect goose. 

Frost 
"The devil damn the black. Thou cream faced lemon. 
Where gotst thou that goose look? 

Miss Hogg 
Shi 

Frost 
MacBeth last act. 

Miss Hogg 
I wish you would stop saying them things at least 
them as has curse words in them. 

Frost 
They are "curses" not loud but deep." "Evangeline." 

Miss Hogg 
AhemJ "Evangeline" that's my stage name. Instead of 
Sarah Hogg I amto be Evangeline Bacon. 

Frost 
"Hog" and "Bacon" Both suggesting — hams. 

Miss Hogg 
Of course I hate to lower my family pride by this stage 
business and putting myself within reach of the foot -lights 
with all their temptations and such, but the work is so easy 
and the rewards so big. I heard that Julia Marlowe gets 
three thousand a week? 

Frost 
(dreamily.) On the alfalfa circuit, they do eighteen sho s 
a day and average six and cakes, but no matter. 

Miss Hogg 
What are you saying? 

Frost 
I am but communing with myself. 

Miss Hogg 
You'd better go and get ready for our rehearsel. That's what 
I'm going to do, (exits R) 

Frost 
Lead on, I follow thee. Oh wha_t have I tumbled up against. 
Oh the "Rumfe d rongon," But, no matter. Why then "¥low wind" 
Come wrack 1 . At least we'll die with a harne.-s on our 
back* (exits R) 



6-S 

Beg. 
Professor-- I should think you'd be glad to get out of this 
made -house? 

Prof Dabney, 
(abstractedly.) Yes, yes, the notice is so sudd n, though, 
I am used to the place, and, ah, well, Nelly we must 
look for other quarters, 

Nelly 
Yes father at once. I'll get my hat. 

Prof Dab. 
Ho dear you gather up your things and pack them. We'll save 
that much time. I'll go and look for a place. 

Nelly 
Let jack go with you if he will. 

John 
Of course jack will. There are xozen of places in the 
neighborhood, where you will be more comfortable than you 
are here? 

Prof Dab. . 
When we get back dear, I'll get together my books, and other 
p ssessions. I don't want to remain in this house longer , 
now than absolutely necessary. Come Jack. 

John 
Excuse me Arty. ■' 



Certainly, (John and Prof Dab e.:cits L U E.) Don't run away 
Nelly. (As Nelly starts to go R U E e ) You haven't even said 
"Hello " to a fellow yet. (Nelly pauses, then comes down 
and offers her hand) 

BNlly 
jack told me Mr Segley, that you had a great deal of trouble 
lately. Believe me-- 1 am very — very sorry. / 

Begley / 

My troubles, Nelly, are not unmissed with blessings when I 
hear sweet words of sympathy from you, (Holds her hand looks 
steaaily at her») NO, you havenf changed a bit, 

Nelly 
(laughs.) Why how could I in three short months? 

Beg 
They have seemed long months to me dear. I counted the 
hours, the days the minutes I have been away, (she tries to 
release her hand.) Don't hurry so 1 . Tell me, do you know what 
brought me back to New Haven? 

Nelly 
I would have thought it strange if you wouldn't have come 
back to see your frienas. Of course we all hear that you 
decided to leave college and we were sorry that you didn't 
remain to take your degree, but you and Jack have been such 
close friends — have been like brothers for nearly four years. 
I never doubted but that you would be here to see him receive 
his honors? 

Beg 
That would be a great pleasure no doubt. But I must confess, 
my visit here is more connected with a matter of supreme interest 
to myself , 

Nelly 
Indeedi 



7-S 

Yes, and I hope of interest to you too. Nelly, you must 
have suspected w^at „as in ray heart? 

Nelly 
Really, I never had the slightest idea. 

Beg 
I have never breathed a word of it before, but the time 
has come when I must ana will speak. Nelly, I love you 
I want you for my wife, 

Nelly 
Mr, Begley? 

Beg 
y love for you absorbs every passion in my breast. If you refa 
refuse it t I don't know what will become of me . I have stood 
aloft before^ because of my friendship for Jack Hammond, 
I thought you and he cared for each other, but he confided to 
me to-day that he had never breathed a word of love to you. 
He woulu not care to be saddled with the burden of your father 
besides, he has another infatuation, Nelly I have lost the 
hjbpes of a large fortune, but I still have a competence left, 
I will cheerfully share it with you and that grand old gentleman 
your father, T brought this ring, this engagement ring, 
it was my mothers, let me put it on 3. uur finger, won't you? 
Please say yes, 

Nelly 
I can't say that Mr. Begley, I can only say thank you and 
"Good-bye . 

Beg 
Good-bye? What,* You refuse me? 

Nelly 
It looks that way. 

Beg 
Because of jack Hammond. Do you know what jack Hammond is? 
Really is? 

Nelly 
Yes, he's a real man, a man among men. One who has always 
been your friend, and I may add, your staunch defender. 
Mr Begley you have needed defense many many times. The world 
at large don't regard your faults as virtues, many things 
are said not alatgether complimentary, and y^u owe Jack 
Hammond for his never failing trust in you, more than you 
can ever repay, 

Beg, 
But you shall know the truth about him. I will tear the 
sheep-skin off this wolf and reveal him for what he is. I 
may have many faults, but I don't go around, temtping young 
girls, breaking their hearts and covering their parents with 
disgrace and shame, but jack Hammond does this self same thing 
and I can prove it. Ask him the truth about Pauline 
Metzgar, and hear what he will say. 

Nelly 
Our interview is at an end, Mr Begley? 

Beg 
(seising her.) No, it is not. Not until I've had my 
say. that unfortunate Pauline has had to leave her home 
because of jack Hammond, I blush when I think of what that 
poor girl has endured because of this man to whom i'v e 
been a brother. 



8-3 

Nelly 
(struggling.) Let me go. Let me go. 

Beg 
Hot until you promise to ask him about Pauline Metzger, 
Make him tell all the details of her miserable story? 

Pauline 
(enters C window.) Pauline can do that herself. 
Arrthur Begleyl 

Beg 
•(starts?) Pauline 1 

Pauline 
..Yes Arty, only Pauline. I am sorry that I have to disturb 
yotf love making, but when you try to make use of my 
"miserable story" as you call it, and juggle with my name in 
such a careless way it's about time for me to "butt in" 
Miss Dabney you're not afraid of this man are you? 

Nelly 
Why no, I -: . 

Pauline 
That's right my dear. He's- not at all dangerous. 
He was going to tear the sheep-skin off of X jack Hammond 
a few minutes ago, and prove him a wolf. If he gets 
unpleasant dear, I can' show you how to pull off his mark 
and make him a monkey . 

Beg. 
I have no time to talk to you now, so please leave this house 
at once. 

Pauline 
Yi/hat a conceited monkey you are. Don't flatter yourself. 
I didn't come here to see you, Miss Dabney, is your father at horn 

Nelly 
He has gone out for a little while. 

Pauline 
My business is with him? 

Nelly 
He will return short ly, 

Pauline 
I will wait, (sits R at table. Pause.) Don't let me interfere. 
Miss Dabney with anything you have to do, Mr Bag-ihey and 
I can entertain each other until your father returns? 

Nelly 
I have a great deal to do, Miss Metzger, go if you y/ill 
please excuse me- — 

Pauline 
Certainly* (Nelly exits RUE) 

Beg 
(crosses over to Pauline 1 w and intense.) Damn you; 

Pauline 
I*d say the same thing to you, only that you're not worth a 
damn. 

Beg 
Why did you follow me here? 

Pauline 
I dian*t„ Don't be so stuck on yourself* 

Beg. 
Don't lie to me? 

Pauline 
Thank you, I don't care to emulate your chief talent. 
People lie through fear, interest or malice. 
I don't fear you. 



g-s 

Beg 

You don't? 

Pauline 
(cooly.) Not the least little 'itty 'itty bit, and-I haven't 
any particular interest in you. You are about to join 
the down and out club, and then as to malice, oh slush. 
I've done a heap of thinking the last three months, Mr Man, and 
the conclusion is not flattering to you in anyway. 

Beg 
Oh than I'm not your "hero " anymore. Your "Big brave hero," 

Pauline 
Don't make me laugh, it cracks my lip, I've stacked up 
against some men as cowarfily as you, some as cruel, 
a few as mean, and a very few with your "lovely gall." There 
may be just a-s great liars I haven't met them thiugh, you 
see I have lived only a few months in New York and was 
never in Chicago at all. But for a co -binatiojj. of cheap 
shaktes, white liver and tin horn gazabos, you can fly 
the pennant. You are the world's champion. 

Beg . 
Your vocabularly like yuur mind still reeks of the gutter. 

Pauline 
Y/ell you see I've gor you in my mind, and it's hard to 
describe with nice words, things that are not nice. 

Beg 
Where have you been these three months? 

Pauline 
Not very far from you, in New York City, 

Beg 
And what doing there? 

Pauline 
Earning my living by punching a typewriter for a prominent 
firm of lawyers. "White Wolcott and Bamberger. They are the 
attorneys for the man who beat your father in that big 
mining suit , 

Beg. 
What, you know? 

Pau ine 
Oh yes, I know. I know that the man's name was Dabney. 
I know that the young girl here just now is his neice, 
I know more—that she is his heriess. I "typed" his last 
will and testament. I know also why you came up here 
and are trying to win her out. Would you like to hear 
anything more that I icnow? 

Beg 

Then your business with the professor- 
Pauline 

Is to tell him of his daughter's prospects, and put him 

wise to you. 

Beg 

Any blow you strike at me, will only re-act on 

yoaurself , You will be the real sufferer in the end. You had bet to 
be sensible, Pauline. Circumstanced as I am I can do 

nothing for you, however, I might desire to do so, but with 

the control of Nelly Dabney's fortune, I could place you 

where your heart's fondest hopes would lead you. 

•tenter Miss Hogg R she stands ilistening. Se is dressed as 

Delilah) 



Pauline 
Where is that? 

Beg 
As ray Empress. The sole arbiter of my future, the only 
being in this worlf I love, for I do love you Pauline, in 
spite of all the cruel things you say e I love you devotedly 
ardently, (approaching her) 

Pau line 
Oh "Guffle." 

Beg 
What! What is "Guffle." 

Pauline 
A conbination of "Guff" and "Piffle," 

Miss Hogg 

What is going on here. You shameless creature* 
How dare you set in my setting room, and have my boardes 
talk to you about love. There can't be no love where I am. 
You scheming hussy , you are worser than the awful seductive 
Jazebel that I'm going to be in vaudeville, and that's 
saying a good aeal. 

Pauline 
How did "This" blow in (looking at Miss Hogg) Why it's 
Hoggie. Hoggie. Go put on more clothes. You make me "blush 
for ray sex. What are you made up for anyway. 

Miss Hogg 
^eave my house at once. If you don r t take her away 
Mr Begley, I'll send for a policeman. 

Beg • 
(expostulating,) My dear Miss Hogg. 

Miss Hogg 
Don*t "dear" me? 

Pauline 
Don't "dear", her, she's cheap. 

Miss Hogg 
Mt Begley I am surprised at you, (calls,) Mr. prost. 
Mr, prost* Gastleigh, (at uoor.) Come here, 

(entering. Dressed as Samson.Fffestrears colored Ikassc 
tunic and sandals, has long haired wig and flesh tights 
and flesh shirt. His arras and legs have lumps and "bumps 
all over them representing muscles. ) What is it, Delilah? 

Miss Hogg 
I want a policeman? 

Prost 
I've no objection? 

Miss Ho, g 
Go and get me one — quick, 

prost 
What— ma oe up as I am, nothing doing. 
How do you do Pauline, How do you like my make up. 

Pauline 
Hello, store hatchet. Yoy look sweftl in spots? 

Prost 
Swell in spots. Oh yes, you refer to ray muscles? 

Pauline 
Are they real? 



II-S 

prost 
Of course. This is the \i.ay I look after I have killed 
five thousand Philistines* I make my first entrance 
with the jaw bone of an ass. 

Beg 
You can't help having that sort of a jaw bone, .Frost. 

Miss Hogg 
If you won't go after one, I'll get an Oxficer mys elf. 
(exits L U E) 

Frost 
She means what She says, she's an extraordinary woman. 
You had better make your escape while you can. In the 
'language of Shakespeare "Go chase yourself" Into the garaei 
with you.. TT asten beautiful Pauline _, hasten. 

Beg 
Yes, come into the garden, we will talk things over,. 

Pauline 
You can talk and taik until you're blue in the face, 
MtMan, I am on to all your curves, (Pauline exits window C 
Beg ley follows her) 

JTOSt 

She's right-, the time for talk is passed. Actions follows now. 

I wish I could have a little "chills and fever 

music," It would help some . (hums a few bars of melodramic 

music "hurry"*) "There is a tide in the affairs of 

men, which, taken at the flood leads on to a fortune 

Nelly is going to have money, I have neglected jjelly, I n..ver 

have seen Nelly's good points before. Begley has wooed her 

and she has turnea him down, jack hasn't woed her yet, but 

worships her from afar off as s is poor captive might a star 

whose slippery beam he gazes on, while squatting amiBd 

the venemous toa^s in his dismal dark abd doleful 

dungeon. While Jack and Segley quarrel, I can carry off 

the prize, Aha, "If jac^ kill Begley, or Begley 

him, either way makes my game. I— 'Tis here-- 

(tapping his forehead.) but yet confused. Knavery's 

plain face is never seen till used, (Nelly outside sings 

a few bars of song.) Ah, she is singing,, or thinks she is. 

She must cut that when we are married, I hear the patter 

of her little feet upon the stair. "Like mice, her little feet 

peep out from under neath ner petticoat. First I paralize her 

with my shape (assumes ponpous pose. Nelly enters RUE 

she catches sight of Frost utters a little scream) 

Nelly 
Ohi (starts badk) . 

Frost 
Fear not Nelly, it is only I* A gastliehg Frost. You can 
cAerish the memory at this moment through all your life, 
¥ou can tell your children about it, how you saw their 
father made up as "Samson the mighty" before the 
hyara headed multitude ever feasted their vulgar gaze 
upon him* 

Nelly 

(bewildered.) Mr prost? 



T2-S 

Frost 
You may call me by my first name c "Alcibiades" Alcibiades, 
as your father will infrom you, was the handsomest man o f 
his time I don't want to appear egotistical but with the 
name — some of his striking points are re-incarnated 
in me* (stalks around 'the stage) 

Nelly 
OhJ Mr prost go to bed please do. I'll send for a doctor? 

Frost 
Nay,. Nayi I neea no doctor "Throw physic to the dogs " 
I'll none of it." Nelly I love you, you must be my wife. 
The pent up parsion is pallpitating in my breast. My manly 
bosom is bursting, (she runs away from him he follows her 
up.) The niagric torrent of my adoration for thee, 
has broken from its bonds, I can no longer disguise my feelin, 
Nelly. I am offering you the chance of your life* Be rained 
Be mine J , 

Jelly, 
(cals,) Miss Hogg. Miss Hogg, Oh where is Miss Hoggs, 
(Miss Hoggs enters L door,) 

Frost 
Don't profane this sacred hour with her name, Poor deluded 
wretch, I have used her simply as a stepping stone, 
to win my heart's best hope, 'Tis true that I have played the 
villain but you ? Nelly , you were the prize. Be mine. 
Be mine, « I will can her name in all my contracts 
and put in yours. Cornel ComeJ In the sweet deliruim 
of love we will forget "Ho;.gie" her very existence. We will 
sgut her out , 

Mi,ss Hog 
She will shut you out first. 

Frost 
AhJ What horrid sounds salute my ear. Ah. You, Evangeline? 

Miss Hogg 
It's Sarah Hog g talking now. "You git" "Can" me 
will you, Get out of my setting room get out of my house 
you don't board here no more* Git, (picks up broom,) Beats him 
with it ) 

i'rost 
Let me go to my eoom and get my clothes. 

Miss Hogg 

" Git" nothing, y ' 11 keep them for the ooard that ou owe me. 
Out. Out before I massacre you. 'beats him out of window) 

Frost 
(at window, ) Woman, at least let me have a pair of — 

111 ss Hogg 
(slams him with the broom,) Not ever a pair of socks. 

Frost 
To cover ray — 

Miss Hogg 
(Business slams him again.) Not even a collar button 
I'm going to put a padlock on your door, no to be "took" 
off until you pay me up. 

Frost 
Oh Delilah. 

. ' Miss Hogg 

I'll Deliah you. Give me all that stuff I paid for. 
(Grabs his long wig pulls it off pursues him around 
the stage, and .lib business chases him off through window) ' ; 



I3-S 

Prof Pabney 
/ off t' \ Coem in mv Toot come in, I'm sure Nelly _ 

will be delighted to see you. (Prof Pabney enters L U E assistm t 
Cnris who is very pallid, bent and walks with a crutch) 

Nelly 
(Goes to him,) Chris. So you are out at last? 
v Chris 

Yes, Miss Nelly, and I want d my first visit to he to you. 
Believe me, I am not ungrateful to you and your father for 
all you have done for me . 

Prof Pahney 
Pshaw Chris, we did nothing. 

Chr i s 
You sympathy meant an awful lot to me as friendless as I am 
It proved to me that there as some good in this world after 
all, 

Nelly 
{1 ads him to chair R«) Rest over here Chris, and tell me of 
your future plans and hopes a 

Chris 
I don't know yet, my career here at the scientific school 
is ended — and — (pase) 

Nelly 
Where is jack, papa? 

Prof pahney 
I left him bargaining with Mrs Apple-gate, He's trying to 
arrange for us to take up our quarters there. Oh hy the 
way, I have a letter, here a special delivery letter, 
I have not opened it yet, (producing letter , ) Entertain 
Chris dear, whe-ile I see what it is (Opens 
letter reads first line s starts pause,) Nellyi 

Nelly 
(who is talking in dumh show to Chris*) Yes, papa. 

Prof Pahney 
(with emotion,,) Your uncle Pick — 

Nelly 
is the letter from him, papa? 

Prof Pah, 
He is dead my child. This is from his lawyers* You read it 
dear I — I cannot (unahle to control his feelings Pauline 
and Begley appear at the window) 

Nelly 
(has gone over to him tekes the letter and reads) 
"We regret to infrom you of the sudden demise of your hr other 
the late Richard M Pal, 3y, who passed away in Idaho last 
Tuesday. He has been our. client for many yearsand he depssited 
with us his last will and testament, on his vist to New York 
several week ago. By the terms, (John enters L) of this 
insturment yourself and daughter are sole legates 
to his large property subject to certain trifling provisoes 
the principle one is that you abandon your present 
professorship and remove at on e to Idaho ; there to carry on 
certain operations inaugurated by your brother, and which he 
desires should not cease with hss death* jf you will call 
at our office we will put you in possession of all facts 
and details there. Respectfully White Woolcoth and Bamberger, 
Att orney's at lav/. 



I4-S 

Prof Dabney 
Dick reaches out the olive branch, to me from the great 
"beyond. 

Nelly 
And has relieved you from all vare for the future — 
(Goes to John , ) Dia you hear jack? 

John 
Yes, you are rich now/ Welly, I wish you joy from the 
"bo torn of my heart? 

Nelly 
Anci we must go to idaho. 

Prof pabney 
Idaho, (squinning.) The old point of difference between 
Dick and his "Fossilized" brother as he used to call me. 
"What use am I in Idaho. I don't know anything about mines? 

ITelly 
,ack here does, you must engage him to help you. 

Prof Dabney 
Will you help me, jack? 

J ohn 
As well as I can? 

Prof Dabney 
I'll pay you handsomely, I love to scatter money when 
I have it, 

Jgg, Chris 
Don't forget me when you are distributing your favors. 
Professors, j'd like to have a j ob out there too. 

Prof nabney 
If I can give you one, you certainly shall Chris, my boy, 
you shall finish your course at the Sheffield. I'll do 
that much for' you, (Professor is beaming with good nature) 

Nelly. 
jacks 

John 
Yes, Nelly, 

Nelly 
This is a uay of events, while you were out now with papa 
I had two ptoposals of marriage, ana I said No to both of 
them, Jack, jack, you don't think the less of me do you, 
now that I havethe prospect of being very very rich. 
I was sort of expecting that you would propose to me also, 
but you haven't, I suppose I will have too, 

J ohn . 
Nelly! (puts his arm around her and kisses her quickly) 
Miss Hoggs entering C carrying Frost's wig and Samson's 
tunic, sees action) 

Miss Hogg 

Ah! (Points at them everybody turns John and Nelly 
stands demurely L) 

Miss Hogg 
What is this, what is going on here? 

Pauline 
Why Hoggie, Prof Dabney has just been left a million dollars 

Miss Hogg 

What? (astounded) 



I5-S 

Prof pabney 
Or two million, I don't know how much "brother Dick was 
worth? 

Miss Hogg 
And I ordered you from the house. How can I sqaure it? 
What can I do? What can I do, (Flourishes wig. and tunis 
in distress) 

Prof Pabney 
Never mindi I forgive you, and if I can do anything for you 
I will. Just ask it « I want to be of use to all my friends, 
I'll lend them money, I'l-- 

Prost 
(sticks head around edge of window,,) Professor I 

Proflabney 
Eh, PrOst? 

Prost 
Lend me a pair of pants, (enter in barrel) 

CURTAIN 

ri "ff TT TT IT ~ TT 



1-K 

"College Chums," 

Act Third. 

In the "Cour d' Alene" mountains, Idaho, 

Mountain Drop. 



2 Cut drop. 




1- Mountain drop at "back, 2- Cut drop, of wooded mountains in front 
of same c 3- A set hut with door, and window piece return down 1. 
Sign office of the Purple Monkey Mine » 3 - A fence all overgrown, 
with weeds, • supposed to guard opening of abandoned shaft., upper 1 
of ' C 5-r, Stump wood wings and rock rows, A -cross back about 12 
f t o high in wire, on this travels an ore car or carrier during act o 
Tree stumps R and 1 Wp against wall of hut is a pile of pickaxes 
lanterns, a wheel-barrow, coil of rope with hook on end, mass of 
miners tools. 

At Rise:- Pauline is discovered seated on stump' down L/with pencil 
and pad of paper taking diet at ion . John ia in C Nelly is over 
right upper gazing at the ore car as it journeys across on cable) 

John » 
(Is dressed as raining superintendent, high laced boots, rough tweed 
suit, soft hat., etc) Sit herel (Spreads his handkerchief on stump 
R) One moment, Nelly dear, until I've finished* (Turns to 
Pauline) Let me see, Where were we.' 

Sauline 
(Reads') "We will continue our shipments over your line as here 
tofore." 

John 
Oh yes , (Dictating) "Provided the impending strike is adjusted and 
we are able to ship any ore at all." Period. In reference to hint 
in your last concerning rebates our president Mr* Dabney is 'he art il; 
opposed to accepting any such favors. His principles favor strict 
compliance with not only the letter, but the spirit of the law* 
I am respectfully, yours, etc." Now Miss Metzger kindly t$tpe this 
with the others, I have given y&u, and I will sign them, (Pauline 
gathers up papers exit into house) 

John* 
You say Nelly, your father isn't much better? 

N-elly 
No Jacki He is still confined to his room* 



2-K 

John 
I wonder if hewill be able to receive me to-night, 1 have so 
many things I want to talk ah out = I don't like to go ahead without 
his authority, and— 

Belly 
why, you know he has perfect confidence in you» 

John 
I want to deserve that confidence, dear, and not make any 
mistakes. We are confronted hy some critical conditions. 

Nelly 
Connected with the strike you say is threatening, 

John 
Yes„ 

Belly 
How have these troubles come about. Jack? 

John 
Through the disturbing and disorganizing influence of a couple of 
persons who should he the very last to desire to cause your father 
or myself any worry* 

Belly 
"Who are these people Jacka" 

John- 
People we brought from the East a 

Belly 
Pauline Metzger in there? (Pointing to- office) 

John 
Bo, she is faithful, industrious and attends strictly to 
business » 

Belly 
"Who then? 

John 
First, Chris, Kurts c 

Belly 
Chris? "What J Poor crippS.ldd Chris 

John 
Chris is a natural born agitator, he is like a fire brand 
thrown into a powder magazine „ He always reminds me of that supposi- 
tions gentlemen from abroad, whose first inquiry when he lands 
at Ellis Island is -"Have you a government here? If you have, I'm 
against it" That individual makes mevery tired who seeks shelter 
under the bene-ficent and protecting wings of the American Eagle 
and who grab the chance immediately to pull out the tail' feathers 
of that noble bird of freedom and wonder that he s creams » 

Belly 
And has Chris been making mischief? 

John 
Chris is an ungrateful "lad" pedantic- gindictive- and it will be 
money in your father's pocket to pension him for life, and banish 
him from these enterprises, He is making fresh trouble every day 
with his wild visionary theories of what he terms the "right" of 
Man" and the "Social revolution" „ Your father thought his know- 
ledge of chemistry would he useful in the labratory, so it might 9 
but his principal accomplishment here seems to be in the nature of 
inciting this content among the men and subserving all discip- 
line© 

Belly 
Why don't you give him a friendly word of warning, Jack? 

John 
I have tried to, he dislikes me intensely for some mysterious 
reason that I cannot fathom 9 His forlorn condition has always 
appealed to my sympathy, and I have put up with a great deal more 
from him on that account, but the time has come when my good ' 
nature and my duty to your father must go to the mat to gether* 



3~K 

My good nature hasto "be licked. The work of disorganization 
must stop* In plain words, ¥elly 3 Chris has to get out* 

Nolly 
Jack] I'm so sorry, so sorryj 

John 
So am la I*m sorry for Chris, I'm sorry also for Arthur Begley, 
The way things have tui" ed out with him, hurts me more than I 
can tell a 

Belly 
(Has glanced off 1 U E lays hand on Jack's arm) Hush Jack! 
He's walking this way now, 

John 
Go into the office, Nelly <, I have something to say to him, and I 
would spare him the humiliation of anyone "being present, 
except the two of us, (Nelly cfosses L exits into office I*) 
(Beg enters I U E He is not dressed in working clothes like 
Jack, "but wears fashionable sack suit) 

Beg 
Hello Jack! 

John 
Hello I 

Beg 
I heard you wanted to see me 

John 
Yes. 

Beg 
"What is it? 

John 
(Pause) It comes hard for me to tell it, Arty, Say old man! Send 
in your resignation won't you? 

Beg 
That's pretty good! Sounds well, the way you say it « Are you 
talking for old Dabney, or showing your own authority? 

John 
Don't take that tone, Arthur „ 

' Beg 
Mr. Begley, if you p^.®se 

John 
But I don't please, see here, you know you haven't been doing 
right by the company with us, out here, it isn't play, but work, 
hard work and plenty of it* I warned you before you came, it 
wasn't an outing, but you insisted on coming. There's not a piece 
of work, or bit of business wMbhwhich you have been entrusted, but 
what has suffered. The apreeing, and the gambling, the all night 
carouses in Wardner, you dubious associates of both sexes. 

Beg 
Cut that, I"ve hard enough of your sermon. Come down to the tacks? 
Are you acting under old Dabney 's instructions, or not? 

John 
Mr Dabney will approve of everything I do. 

Beg • 
Don't be so damned sure of that. You're not making such a hit as ' 
you would like him to believe. You've got the men all disatisfiedo 
If you don't know it, I'll tell you, y&u are mighty unpopular 
here, and when Dabney is put in possession of the facts, you 
may get your own walking papers. So don't get so chesty 

John 
(Slowly and quietly) You had better give in your resignation 
Begley. 



4*K 

Seg 
I'll see you in hell first. 

John 
Begley, you are discharged „ 

Beg. ' 
I won't take a discharge from you. 

John 
I know you haven't any money, your accounts are all over-iiasta' drawn 
I prepared for your departure from the service of the company., 
Here. (Takes out pocket-book, from it a check, hands it to 
Begley) 

Beg 
(Hesitates) what's this? 

John 
My checque for five hundred dollars, take it J (Begley does so) 
I hate to think of you Toeing entirely "broke; If you will take my 
advice, you'd better start East immediately „ 

' Bag . 
I don't want your advice , 

John 
Good~bye/ 

Beg 
This is refreshing. I must say, and to think that all this 
property belonged to my father and was stolen from him by the 
juggling lawyers of old Dabney's swindling brother, and here am I ? 
his son "Discharged", that ~/as the word you used wasn't it? 
^Discharged" by you whom I tolerated as an acquaintance at College 
whom I patronized in a way my inferior socially, financially, 
er - er~ 

John 
Go on, make it intellectually, physically, morally, I don't care. 

Beg 
I know what's the matter with you, you're jealous , you're afraid 
if I stay, I'll cut you out with Nelly , 

John 
Kindly leave Nelly's name out of your ravings, will you? 

Beg 
I'll do as I please about that, what I think best. (Cris limps on 
L U E stands listening) 

John 
No you won't* Your best isn't good enough for me » In this matter, 
you'll do as I please , See here, Begley, I've put up with all year 
infernal nonsense I intend to, I have been your friend ever since 
we met o I helped you with my purssc, I helped you with my brains 
when we were at college together.-, I was loyal all through, I've 
stood your friend out here as best I could, I have put up with 
your slurs, I have closed my eyes to your sneaking underhand con- 
spiracies, but Satience has its limits. Don't trespass on mine 
anymore „ If you do, I'm going to take the hardest punch at you„ I 
ever took at a human being in my life, and it's dollars to doughnut; 
I "II lick you, Arty Begley, I'll lick you to a frazzle. 

Pauline 
(Enters from office) Mr„ Hammond, 1 They are "phoning" to you from 
the mine, there is more trouble, I fear,, 

Chris 
(Chuckles) HumphJ And there's more to come, there's trouble on 
all sides, I don't wonder at it a (Pauline exits into office*) 

John 
(Has started for office, stops) No more do II Kurtz, let me give 
you a tip, and in all friendliness, if you want to retain your 
job here, attend to it and .to nothing else*, 



5-K 

Chris 
What do you mean "by that? 

John 
You talk too much. You're too much among the men, sowing the 
seeds ©f discontent and insubordination- 

Chris 
You can't gag me, I'm not a slave. I don't owe my place here to 
yftu, "but to my abilities, which professor Dabney recognizes, 
(Works himself into passion) If I had my strength and was not a 
cripple, you "big blustering bully, you wouldn't dare attempt to 
bPErw-beat mei (Sheriff Haywood enters L U E) 

Beg 
That's right Chris, give him. blazes. If he lays a finger on you, 
He'll have to deal with me. 

Nelly 
(Entering from office) Will you come to- the phone, lack? It must 
be urgent, the way they are calling you. 

John 
Business before pleasure! I'll attend to the company's affairs 
first, then Begley I'll accommodate you with any sort of a game 
you want to play, (exit into office,' passing Nelly in before him) 

Sheriff H. 
What's going on here, sounds like fighting talk? 

Beg 
I am only interfering to protect my friend here* You can see for 
yourself Sheriff Haywood, he's not able to defend himself. 

Sheriff 
What? What was he misusin this poor boy. 

Seg 
He threatened to, the coward, but he shan't do it, while I'm 
ar>ound, 

Sheriff 
By thunderj He shan't neither, when I'm around, I don't like 
the bread of those fellers as meddle with the unfortunate.. 

Beg 
(Chris annoyed at being patronized limps off RUE) His position 
of power here in' the mine has swelled his head, so that there's 
no living with him. We knew him in the East, he ammounted to 
nothing there. He's a bad cas-e all around. Sheriff he owes me 
borrowed money to-day. He'd never have got through college if I 
hadn't helped him with his studies. Why you can judge what sort 
of man he is, he's trying to marry old Dabney' s daughter, and — 

Sheriff 
Well, you can't blame him for that, I'd like to marry her myself 

Beg 
Well, you' wouldn ' t insult her and do her the foul wrong, he's 
doing her. 

Sheriff 
How is that? 

Beg 
That new stenographer he has in there- (Pointing to office) 

Sherriff 
Yes, sheds a peach. 

Beg ' 
She was his mistress in the east. 

Sheriff 
What? 

Beg ' . 

I'm telling you facts. Half the people in New Haven know it. That 
poor cripple there, (pointing right) It's broken his heart he 
wanted to marry the girl, honorably. Oh I tell you, Sheriff, there' ! 
goingto be a lively time here in your baliwick, when things all 
come out. 1 won T t be here to see it, I've just resigned. I'm 
going away. 



6-K 

Sheriff 
Well it strikes me that typewrit in' gal in there is not the kind 
to stand "by and see some one else take away the man,' she cares 
for. 

Seg 
Oh, that fellow will get rid of her some way or other, why he's 
none too scrupulous to push her over into the canyon some.' 
dark night. 

Sheriff 
Go slow.' Go slow! Pard- Do you know you're suggesting murder? 

Bog 
I wouldn't put even that "beyond him. 

Sheriff 
Sufferin' mackeral, you don't mean it. 

3eg 
But I do. Hello whom have we here? (Pointing off L "0" E) 

Sheriff 
(Strolling up) Them? Oh them is the gshow troupe" who's going to 
"cut up didys" at the Opry to-night, looks like a bum show all 
right. If I'm judge it's on its last legs. I wonder if that 
spring chicken is the "Salomy" dancer they advertise, 

Seg 
(starts) (aside) By George I It's Prostl If he sees me, he'll try- 
to touch-Excuse me, Sheriff, I want to talk to my friend a minute . 
(exits R U E) (Pause) (Prost and Miss Hoggs enter wearily I U $ 
They are carrying suit cases, and a roll of scenery between them) 

Prost 
""Thus far into the bowels of the land have we marched on with- 
out indepdiment" 

Miss Hogg 
Cut that out, and ask that ugly man where the hotel is. 

Prost 
(Approaches Sheriff R) My dear sir: 

Sheriff 
What, 

Prost 
My dear si. 

Sheriff ■ 
I'm not your dear sir: I'm the sheriff. 

Prost 
The what? 

Sheriff 
The sheriff. 

Srost 
I never meet sheriffs on coming to town, but I never fail to meet 
them when I leave, "We will assume that you are not the sheriff 
at present. 

Sheriff 
we won't assume no such thing, I am the sheriff « 

Prost 
A truce to your persiflage. 

Sheriff 
Eh. What's that? . \ . 

Prost 
"Will you kindly direct us to the worst hotel you have in this 
rotten burgh? 

Sheriff 
The worst hot'el? The worst hotel here is the best hotel and don't 
you forget it . 

Prost 
Then I suppose the best is the worse. 



7-K 

Sherif 
There's only one hotel here. 

Erost 
Oh I see, then it couldn't "be worse. 

Sheriff 
My wife keeps that. It's the occidental 1 

Erost 
The Accidental, eh? 

Sheriff 
Occidental, I said* 

Erost 
Same thing. Is it near the Theatre? 

Sheriff 
You mean the "Opery"? It's the same building, My brother runs 
the "Opery" 

ITrost 
Your brother runs the show shop, and your wife keeps the hotel* 
■Where is it? 

She riff 
(Pointing R) Up the mountains about a mile„ You can't miss it, 
You stop just before you come to the grave- yard. You'd better give 
me your baggage checks. My son hauls the baggage * 

Erost 
Eh J Your wife keeps the hotel, your brother runs the grave-yard 
I mean the theatre* 

Sheriff 
OperyJ OperyJ 

Erost 
Your son hauls the baggage, anymore of your family busy hkre? 

Sheriff 
Oh yep.' My father-in-law is ticket agant in the "deepo% 

Erost 
(Goes to Miss Hogg) Evangeline, have you heard, this is our 
finish we haven't a chance I beg your pardon Sheriff, what is your 
name? 

Sheriff 
Haywood*' 

Erost 
Well, then Hayweed, are you an Eagle? 

• , Sheriff 

No, I ain't „ 

Erost 
The last hope is gone c 

Sheriff ...', 

And there ain't no Eagles here. This is a prohibition district,. 
If you want a drink you'll have to go to Wardner 

Erost ' 
"We have jurt escaped from Wardner, 

Sheriff 
You orther stayed there This town ainSt no good for ? show ' 
troupes, when we uns want to go to a show, we go to "Wardner, 

Erost 
Come ErangelineJ (They gather up traps,,) 

Sheriff "' ' 

Where be you going, to the hotel? 

Erost . • 

I think We'll keep right on to the grave- yard, you said it was 
next door e 

She riff 
You'd better be keerful about that grave->yard« Y/e're particular 
about it o Remember we don l t allow no M promiscuous dying" in this 
town* (Re— enter John and Nelly from office) 



8-K 

John 
The strike is on. See J (Points to ore car at hack) See] They have 
even left the ore-car midway across the Canyon* Well, nothing can 
"be done to-night „ I will attend the meeting of the man, and ask 
permission to address them* You go home dear and-- 

Nelly 
{ Interruptin) (Pointing to Miss Hogg' and Prosy) Y/hom have we 
here? Old friends. Well; Well - Weill 

John 
Ehi Miss Hogg] (Advances to her shaking hands) 

Nelly 
And Mr/Prost 5 

Prost 
(Rushes to her) Aha] "It is my love that calls' upon my name* 
How silver sweet sound lover's tongues at night » Like softest 
music to attending ears" Romeoi "balcony scene 4 

John 
Mr Prost I What are you doing here? 

Prost 
Don't you read the papers? We are knocking them cold in the one- 
night stands <, We are a riot everywhere* 

John 
Then you are meeting with success. 

Prost 
More or less a 

Miss Hogg 
Generally less, I wish I could get a situation as plain cook 
somewhere, this play acting ain't what it's cracked up to "be. 
Do you know-( Gra"bs Nelly, whispers in her ear* Nelly evinces 
surprise,, Prost' tries to "butt .In, they ignore him Pauline 
appears at door* Prost shakes hands effusively with her* Nelly 
and Miss Hogg exit into office, Prost and Pauline follow) 

Sheriff 
(Touches John on shoulder) I've got something to say to you a 

John 
What is it? 

Sheriff 
I understand that you have "been making cracks at that lame "boy 
Chris c Take my tip and drop it, 

John 
What do you mean by "Cracks"? 

Sheriff 
Why threatening him with physical violence « 

John 
You have "been misinformed Ste riff, I'm not huilil that way-. I 
wouldn't think of laying a finger on him 

Sheriff 
Well, don' t„' That 's all e Our boys here wouldn't stand for nothin 3 
of that sort c They don't like you Very well anyway, they think you 
and old Dahney put on too many airs e Him g goin ! , and huildin' a 
swell house like he has, and a roll in v in luxury, his "brother whei 
he was here was content to stop at the hot el , my wife keeps R 

J6.hn ' ' 

Yes I know, and he died of liver troubles I presume Mr a Dabney 
has a right' to spend his money as he chooses, and if it pleased 
him to "build a comfortaole home for himself and daughter 1 that is 
his affair and the. "business of nobody else* 

Sheriff 
Well- 



9-K 

John 
He's making his home here, and devoting all his energies to 
"building the country and the state Now in regard to myself, I wan", 
to treat every one fairly and I shall demand fair treatment in 
return. The dislike of the "boys as you put it, I don't regard' 
any more than a tinker's damn. I shall do my duty as I see it a 
You have given me a tip, I'll give you one, I don ! t hit cripples 
In fact I don't like to hit anybody, but if it becomes necessary 
I'll pick out some fellow just above your size, who has the use of 
all his limbs and who by his insfelence and bjallying impertinence 
leads me to think' he'^s looking for trouble, and 1*11 land on him 
for all I'm worth. You know my hand, Sheriff, you can lead to 
suit yourself „ (exit L U E) 

Sheriff 
(Meditating) Who is it that's just about my size? I winder if he 
msns me? That young feller will bear watching* Anyways, what 
Begley told me about him and that typewriter of his'n ought to 
"be investigated: Them morals may do east« They're too much for 
this pure air of Idaho I'll put old Dabhey wise, that there feller 
is a scandal and menace to our community* (exit RUE) (Re-enter 
from office Nelly, Miss Hogg, Frost and Pauline) 

Nelly 
Miss Hoggjif you want to take the position and act as our 
housekeeper you will "be more than welcome* 

Miss Hogg 
I'll "be your housekeeper all right, but leave out that' word 
"act" I hate "acting" and everything connected with it a 

Frost 
(To Pauline) She never could "act" in a million' years Evengeline ? 
am I to understand that you have "trun me down 

Miss Hogg 
I renounce the devil and all his works, and that includes your 
play* 

Erost 
It was a "hell of a play" that's a fact, Tout it could lave been 
played "better Miss--Jtfelly„ 

• ' s ITelly 
Mr<= Eros 1 1 ■ 

Erost 
Do you know youa re_ disrupting my organization, this woman— 

Miss Hogg 
Who ' s a woman? 

Erost 
Is under contract to me» I could sue you under the unfair trading' 
decision, but I won't, 
Earev/ell Evangeline, farewell- 

"Away to pots and kettles and your kitchen stove- 
While Erost soars upward Phoenix like to love I 
(to Pauline) Ring me up an aeroplane, will you? 

Nelly 
I'm sorry, -Mr Erost if I am doing you an injury,, 

' Erost 
Othello's occupation gone. 

Nelly 
Erom what I hear, you have had a bad season 

Erost 
The worst but nine I have ever had e 

Nelly 
Possibly you might be able to turn your abilities to something 
here,. 



IO~K ' ' 

Pauline 
Why yes„., . ■ , 

Prost 
What could I do here? 

Pauline 
Well, there ! s work' in the mines, you are a husky invidualo 

Prost" 
What? (Roars) What? Turn my talents to "base mechanical uses 
Wield the plebian pick axe* 

Pauline 
If you had any capital, you might embark in trade. There's a small 
grocery to let near the station* 

Prost 
Grocery stored Oh J Oh J Coriolanus sealing oleomargarine! Perish 
the thought „ 

Miss Hogg 
"Well s Nelly Dr.bneyi Let 's get on, we're wastin' time with him , It ? 
getting late too 5 the sun is a settin' , (Picks up suit case, Nelly 
and she exit R) 

. ■ ■ Prost 

Wastin-' Gettin 1 * Settin' * doin ! „ Paulinel our pathway across the 
continent this season might "be tracked Toy the "gs" that woman 
has dropped In. every town we have appeared „ 

Pauline 
What are you going to do 5 now you've lost her? 

Prost 
Give, some ambitious, talented, and beautiful girl a ch?.nce, AhemJ 
Are you saitsfied in your present environment? 

Pauline 
Quite- 

Prost 
You wouldn't like to s 

Pauline 
No- . . ., 

Prost 
I would promise you, more salary, than I promised her^ 

Pau line- 
As I told you once before, Prosty, nothing doing. It's getting 
late<> I'm going to- lick up s 

• Prost 
Do you look up the office 9 

Pauline 
Of course, why" (Locking the door) 

Prost 
I was just thinking of my baggage and scenery,, I don't want the 
risk of having it attcthed, owing to Evangeline's unwarranted 
defection* I can ; t show tp-night/I wonder where I could hide my 
stuff Ah behind this fence',, (Props roll of scenery and bag' 
behind set piece L upper C) Bless me,* That's extraordinary! 

Pauline 
What's that? (Turns' to him) 

Prost 
All I possess on earth has disappeared I dropped them behind 
this fence, there's a hole there. 

Pauline 
I should say there was. They started a shaft there, and abandoned 
it a That fence is there' to prevent people falling m. It's only 
about sixteen feet deep c 

Prost 
Only? How am I to get my stuff? 

Pauline 
Wait till morning* It's getting late now c 

Prost 
Don't be' so flippant I The bag of mine contains a priceless 
treasure*" 



11-K 

Pauline 
What? 

Prost 
The manuscript of my nW play* All the, managers of the country are 
crazy to get -hold 'of it« When I stopped at a hotel in Chicafcp. 
I got "Oscar" to keep it in thesafe e Hare you a ladder? 

Pauline 
All out of ladders* 

Prost 
Have you a rope? 

Pauline 
What do you want with a rope? To hang yourself? 

Erost 
Nay, nay Pauline J ; "Hang cats and blind puppies" AhJ What have we 
here? (Picks up coil of rope with hook "by office) This will do* 

Pauline 
What are you going to do? (Business he fastens rope to fence-rail) 

Prost 
I am going to descend into the Stygian darkness » 

Pauline 
Oh, be careful, Mr Prost , 

Prost 
Pear not, Pauline,' there is no danger*. The rope is strong, why I 
have decended many times' "by means by knotted sheets from hotel 
rooms on the* third "floor « (Sings "We fly Toy night" "We fly "by 
might" 

Pauline 
I suppose you can get down, hut how will you get up? 

Prost 
Pauline, you can't keep a good man* (Disappears "behind fence) 

Beg 
(Outside) How Chris, don't he a fool, hut take my advice 

Chris 
Talk low! Talk low] She may not have left the office yet* 
(Pauline draws hack upperL) 

3eg 
(Enters R Chris limps on after him, Beg a crosses to office 
door tries ' it)She's locked up and gone* I tell you Chris my way 
is the best „ He'll he at the meeting Hall to-night, and will try 
to speak to the men. You keep close to him, I will take care of 
the lights,, at a given signal they will go out Sank your knife 
then to the hilt of his shoulder "blades. Cold steel is surer 
than a bullet* Ho one will know who did the deed,, You will pay 
him up for the Pauline business, and your own crippled ooonditmon 
and I will have a free field with Mary. c 

Pauline 
(Coming down) Don't be to& sure of that Arthur Begley? So you 
have fallen as' low as that eh?- Plotting murder? And you Chris 
you poor idiot „ You are willing to serve this devil here and like 
an ungrateful dog sink your fangs into the hand of the mass, who 
showered you with benefits « 

Chris 
You've been listening eh? 

Pauline 
Yes, haven't you suffered enough through your madness, mis«a~ 
happen wreck that you are, afflicted by the Avenging hand of 
fate* ( - 

Chris 
I don't know what fiend brought you here, , 

Pauline 
Ho fiend ChrisJ But the will of Heaven which in mercy w&uld 
save you from a cowardly crime. 



12~K 

* Beg 
Come- Chris. ? away, let's leave her, It's only her word against 
ours, She' can't do, anything „ 

Pauline 
Oh yes j she can= She can tell your dupe about you* She can tear 
off your mask 'and show you for what you are„ Listen Chris, you 
"blame Jack Hammond for me having jilted you 

, ' Chris 

Yes j damn him. 

Pauline 
He is an innocent man 5 If you would know the real tempter! Behold 
him there The man who deceived me with a false marriage. 

Beg 
That's a llel 

, Pauline 

It's the truth,, I carry the" certificate here in my "breast 9 It 
"bears your name and mine, and the signature of the "bogus priest^ 
your conf ederate* '-Oh I'jaekkept the secret all this time, while my 
good name was. "besmir&ched "by slander, tout the moment has come when 
concealment must oe thrown to the winds a If you value your safety, 
leave this place "before the- sun rises on another day, or I'll 
have you in jail for ■ conspiring to murder* You coward, you sneak 
you lowest of mankind „ 

Beg 
I f ve hard enough from you. no more' or I'll send you to Hell to 
prepare a welcome for Jack Hammondo You- you she devil! (seizes 
her) ; , 

Chris 
(©ets in "between thfim) No you won't „ You let her alone J 

Beg 
What j you dare to interfere, 

Chris 
I dare! 

Beg 
Again r t me 

Chris 
Yes, against you.. She must have a chance to prove what she says, 
and if she proves it-~ 

•Beg 
Well, what then.? 

Chris 
What rhen? What then? Why the knife you have given me to use on 
Jack Hammond, This knif e } '( Flourishing it) I'll sink into your 
own heart o 

Pauline 
No, no, think no more of murder' Chris J Bo not add to the weight 
of sin already on your soul, 

Chris 
Then from your charges against this man, prove them I say, or I'll 
think you are trying, to shield Jack Hammond 

Beg 
That's What she's doing* She wou^d sacrifice any oneto save 
her lover„ 

Pauline 
Jack, my lover „ Oh you lie, you lie most foully J I would have 
spared you Now Arthur Beglpy, look to yourself. Here is the 
certificate, here is a "bundle of letters written to me, with your 
own hand, (Flourishing packet) I will make our secret puiblic 3 and 
you shall "be shown to the world for what you really are c 

' " Beg 
Give me those. '.let ers I 'Give them I sayi;( Seizes her suddenly) 
(They struggle) 



Sag 



13-K • . 

'•* Pauline 
STo — No—Chris — Chris— (The letters fall to stage) 

Chris 
(Picking them up) I have them,' 

Beg, - 

Give them to me! (Throws Pauline down I, 'she falls half fainting) 

- Chris 
NoJ I'll read them first! (Begley advances on him) Back J' Back J 
I say, rememher what I told you„ (Puts letters in "breast *) 

Begley 
I°ve had enough of this .(Rushes on Chris ^ho menaces him with knife 
Begley grafts his arm, the knife falls) 

Seg 
You whelp j you'll threaten me, will you? Well, here's an end of 
your snarling,? (Drags Chris up to hack 1 C -flhrows him over set piece 

' .' - Pauline 
(Reviving) You murder erV You mu&erer! (Unlockd door Qf office) 
hut I will denounce you. 

Beg 
You'll n-cer live to do it J (Advancing on her) 

PaMne 
What would^ you do? . - 

Silence you forever!. • 

Pauline 
(Screams) Help.' Help.? (Runs into office) (Begley pursues 
her into hut) (Noise of scuffle heard inside) (Pauling muffled 
screams, sound of "blows then silence) (Begley r e- appear s^ 
looks cautiously around then at his hands, which are "blood stained 
picks up handkerchief which 2ohn has left an stump, looks at it, 
speaks. ) 

' ' ' John 

2J«Ho" His handkerchief I (Wipes "blood from hands, drops 
handkerchief "by door way, sees Shris's knife, on stage, picks 
it up, goes to set piece) (Apparently throws knife down shaft ) 

Prost 
(outside) (Behind set piece in muffled voice) Ouch J Say cut that 
out„ (Begley starts , • looks fearfully around as if not exactly 
certain whether he is "bewitched or not) 

Sheriff 
(Outside) The cries came from this way, sounded like z woman! 
(Begley gets "behind rock piece at "back) (Pause) (Sheriff Haywood 
Nelly and Miss Hogg re-enter R ) 

Nelly 
The office door is open, where is Pauline? (At this point Pauline 
appears in door way, on her knees, her face is covered with "blood 
her hair dishereled, she tries staggeringly to raise to her 
feet, then pitches" headlong to stage outside door 'down L) 

Nelly 
(Screams) Ah! 

Sheriff 
Those cries were hers. 

Nelly 
Who, who has done" this? Pauline. Pauline,, Poor Pauling, speak to 
me, speak. (Going down I raisagg Pauline's head) Get some water! 
%uick<, Quick. (Miss Hogg exits into office) 



i9~K 

Sheriff 
There's no sign of robbery, Ahl What is that? (Picks up ' 
handkerchieg ) A blood stained handkerchief! Marked J„ H 

JTelly 
J H» Why that is Jack, 

Sheriff 
Is it? Well it makes things "look pretty had for him, Per Jack 
Haimiond is the only one who had an interest in getting this poor 
gal out of the way e 

Nelly 
What ars you saying? 

ShEiff 
Only what I can "back up, Miss-Mr Begley warned ine this evening 
that Jack Hammond would murder this gal, Tout what he'd rid himself 
of her They were -sweethearts in the East and now he wants to 
marry you* 

■ Nelly 
Then Arthur Begley slandered this girl and lied about his friendo 
Bring them fact to face, and John Hammond will answer the false- 
hood and punish him as he deserves „ (Miss gogg hrings water, she 
and Nelly "bathe Pauline's face*) 

Nelly 
The cruel - cruel wretch. Use the phone B ShEiff Haywood] Don't 
stand gaping there like a fool, get a physician quick! 

Sheriff 
My business is to arrest the criminal*. 

John 
(Enter L U E) What's the matter here? 

Sheriff 
(With leveled pistol) Th w up your handsS You're under arrest, . 

John 
What is the charge? 

Sheriff 
Mudirer, Your victim liees there, 

•John 
Ah Pauline* Who has committee this awful crime? 

- Sheriff 
You can best answer that. 

Begley 
(Coming down R) What's you prophesied would, He's murdered the gal. 

Nelly . • 

Not so fast Sheriff, Pauline is still alive She may revive and 
tell who the real criminal is, 

Prost 
(Appeals over set-piece) And if she does not, there's some one 
down in the shaft, who will . 

Omns 
Who? 

Prost 
Christ Kurtz, the lame -boy, the same coward who tried to murder 
Pauline, threw Chris 'down the shaft, he may die down thBe„ Who'll 
help me to draw him up, 

John 
I will. 

Sheriff 
You stand where you are, you're under arrest a 

John 
Sheriff HaywoodJ After we get that boy out of the pit, I'll 
yield myself your prisoner, and if you don't agree to t hat- 
Sheriff 
fhich I don' , 

John 



15 -E 



Tim you can go to HellJ '(Turns up to Frost, they commence to 
haul on rope) (Sheriff" H« levels pistol, Nelly rushes with a 
scream clings to his R, - hand with famth of hers, she kneels) 



C U R T A I No 

Positions at end« 

Frost „ lohn 
Sheriff • - Miss Hogg 

Beg, Nelly, Pauline, 

N e B e Prom John's entrance everything should go very rapidly. 



Act 4th. 
SCENE: — The Dabney Mansion. A handsome interior 

11 



10 

7 


\ / "1\ 
\ 


-^\ 9 




\ 


^2 



i — t '-' x 

7x 6 ! x 7 / / B 

L_l xX 8 



\ 



EXPLANATION 

1- Large bay window. 

29 Door. 

3- Eireplace with mantel and mirror. (4) Stairway and platform 
running off R. Arch at head of stairway. 

5- Door - 

6- Table. 

7- Chairs. 

8- Large couch, 

9- Interior backing. 

10- Interior backing. 

11-Exterior backing. 



Handsome chandelier, bric-a-brac, jardiniers etc. Decorative 
furniture. Curtains to windows, rugs etc. The stairway should 
hare handsome balustrades to bre&k away. Window has pain of 
glass to break, 

oooOOOOOOOo ; j 



IE ■ 

ACT EOUR 

SCENE: — The Babney Mansion. A handsome interior. 

At rise: --Erost id discovered seated R. at table T. on which, is 
the remains- of a repast. There are couple of smpty beer "bottles 
on the table. Sheriff Haywood is C. looking at Erost who is eat- 
ing heartily. Miss Hogg is down R, 

Sheriff H. 
Say, you've got a good appetite, haven't you? 

Erost 
Oh yes, 1 ear heartfly, when I have anything to eat, and drink 
deeply, when I have anything to drink. Evangeline, I would 
like some more beer* 

Miss Hogg 
You've had two bottles now, that's enough. 

Erost 
Two bottles I. What ' s two bottles to a Milwaukee thirst? (Nelly 
enters from arch above at back coming down stairs.) Miss 
Nelly — - 

Belly 
Mr. Erost, 

Erost 
Am I to b'e stinted in my malt I Your "factotum" here - (Pointing 
to Miss Hogg, ) 

Miss Hogg 
What's that you called me? 

Erost 
(Ignoring her.) "Is endeavoring to limit your hospitality. I 
asked for "more beer" and she cheerlishly denies me — 

Nelly 
Oh, please Miss Hoggs, let Mr, Erost have all the beer he wants. 

Erost 
Thank youl Dost hear, Evageline? 

Miss Hogg 
I dost. 

Erost 
Then dust away and get me four bottles this time. 

Miss Hogg 
Eourl Well, 1*11 go, but — 

Er jst 
"Stand not upon the order of going, but go at once." Macbeth, 
banquet scene. And how are the patients, Miss Nelly? 

Belly 
Chris is delirious, Pauline is mending fast. 

Sheriff H. 
Then I suppose I can question her. 

Nelly 
The doctor forbids her being disturbed. 

Sheriff H D 
But I am the law, and the law ain't to be interfered ■with. We 
want to get at the facts. The whole community is stirred up over 
this outrage. It'smighty funny that you were in thaft and 
didn't hear nothing, 

Erost 
Dogberry, that shaft was sis teen feet deep, j was at the bottom. 
You would understand that I c ould hear anything of what was 
going on some distance from it's mouth, if you had the brains 
of a hen.. 



2-E 

Sheriff H. 
You stop that insult in' talk or I'll run you in. 

Nelly 
Gentlemen-, gentlemen, Sheriff, I "beg of you - - 

Sheriff H. 
You tell*me one thing. Why did you go down to the shaft any- 
way? 

Frost 
To red.eem from thence a priceless treasure. (Lifts up suit- 
case which is beside him.) 

Sheriff H. 
What is in that bag? I'll open it and see. (Takes suit case 
away from Forst who vainly tries to prevent him.) 

Frost 
Forehearl "FbrehearJ Do not with sacrilegious touch profane 
the sanctuary. 

Sheriff H. 
Rats J (OPens the "bag.) (Re-enter Miss Hogg with the four hottles 
of "beer*) She lays them on ta"ble and exits L.IXLE. ) 

Sheriff H. 
What's this? (Holds up grease paint.) 

Frost 
Item-one stick of grease paint , Eo, 5. 

Sheriff H. 
(Holds up 'collar and loud vest.) what's that? 

Frost 
My slasher and crasher waistcoat. 

Sheriff S. 
(Holds up -pair of old tights.) Humph! These are a pair of 

Frost 
Those a.re my Romeo tights. 

Sheriff H. 
The moths have got into them. 

Frost 
Handle them with reverence. They "belonged to Shakaspearel 

Sheriff 
Who is he? 

Frost 
Alas, he's a dead one. That small "box there is a "box of "wrin- 
kles." That other one contains "laughs." I'm making a collect- 
ion of them. Ahemi I haven't had many of them lately. 

Sheriff H. 
Here's a hammer. (Holds up hammer.) 

Frost 
Yes , I carry that to knock all the other actors I know. 

Sheri f f 
(Holds up large key.) What's this, the Key of -- 

Crost 
The key of C. I mean the kye of the curtain. T se it to play 
jokes on Reuben, Sheriffs and other puriden headed yaps. 

Sheriff 
I know what this is. (Holds up book.) This is a bible. 

Frost 
Yes. 

Sheriff 
Oh yes. (Reads on fly leaf.) "Stolen from the Northern pacific 
Railroad," What thing] It looks like a rool of sausage, 
(Holds up script L.) 



3~E 

Hi ss Hogg 
That.' The play he speaks of Sheriff - look out for it, it's 
piaen. 

Sheriff 
And it was for this trash, you went down the shaft? 

Frost 
(Bristling up.) Don't you call my play trashl Don't you dare! 

Sheriff 
(Knocks down Frost wth manuscript,) Shut up. 

Belly 
Gentlemen, gentlemen! 

Frost 
(Getting up,) Why pluraliae. There is only one gantleman pres- 
ent. This "anthropophagus" dontt co^nt. 

Sheriff 
Answer me. You went down the shaft to get this stuff? 

Frost 
Stuff? you're a stuff yourself- 

Sheriff 
You went down the shaft? 

Frost 
T did. 

Sheriff 
What did you* do then? 

Frost 
I tied the rope to my "belongings and started to climb up. 

Sheriff 
The rope? 

Frost 
Yes, the rope. R-O-P-E- rope! 

Sheriff 
I always spell it , R - - p„ I "believe in the "phonographic 
spelling. The "e" is supercillious » Well, you started to climb 
up the R - - 1 •- 

Frost 
I had almost reached the top, when an object fell with crushing 
violence on my head. 

Sheriff 
What! 

Frost 
Chris, the lame "boy. The shock jarred my hold on the R - - P - e 
and we fell to the bottom together, -phat is j fell first. He 
fell on top of me, But he was inseisible. I struck a match and 
found out who it was. I fastened the rope then to him, and 
started to ascend again, when another object struck me on the 
head. 

Sheriff 
What was it this time? 

Frost 
A knife. Here it is. (produces knife. . 

Belly 
I knew that knife. It belongs to Arthur egley. 

Sheriff "" 

^Takes knife) Humph! Now see here, it aintt no use your trying 
to connect , r r, Begley with this affair. 

ITelly 
I an not, Sheriff.. When Pauline and Chris are able to speak they 
will fasten the guilt on the man who deserves it. 



4-E 

Sheriff 
Well, if their evidence will clear Jack Hammond, theyd better 
hurry up and peak soon* j- can it stand against public sentiment 
much longer. 

ITelly 
What do you mean "by that? 

Sheriff 
Why the feelings all against him. Everybody., s talking about 
lynch law being the Je at law. Them striking miners only 
need some loafer filled with Wardner "red-eye" to lead them, 
and they'll storm that old jail and take him out andhang him. 

ITelly 
And have you taken any steps for his protection? 

Sh er iff 
Well, I'm in a peculiar position, i wouldn't like to fire 
On any of my constituents, but of course, if things do - come 
to -* to - a - 

Frost 
Crisisl 

Sheriff 
Yes, that's it, a crisis. I'll do the test j kin. 

any 

I thought as much . Your best isn't very good, and that is why 
,'y father has left his sick bed, and gone personally to Col- 
oenl Haines, At thi s moment a detachmentpf troops is on the 
way from the £ost. 

Sheriff 
For what ? 

ITelly 
To see that that the law is respected. As you present it } it's 
nothing but a ghastly mockery. You knew the condition of 
affairs, and it was your duty to have seen that Mt. Hammond 
was conveyed to a palce of safety. 

Sheriff 
Eobody kin tell me my business and don't you try. 

Frost 
(Taps forehead.) Solid ivory. They '.will make Billiard balls 
of his d^ad some day. (Clanging of bell heard in distance. 
Shouts. Scattering shots. H;B t use carriage cushion and rattan 
effect. 

Belly 
What is that? 

Sheriff 
The alarm bell of the jail. Your soldiers- had better get here 
pretty quick, or they'll be too late. (Shouts. Bell and shots) 

Hiss Hogg 
(Entering.) The mob areattacking the lock up. They say they're 
going to take Jack Hammond out and hang him. 

Bellly 
Quick sheriff, to your post. 

Sheriff 
Why , what can I do? What can one man do against a hundred? 

Frost 
He can at least die like a man in defense of justice and the 
right. Sheriff, I think you are a" coward, 

Sh erif f 
■What's that? 



5-E 

Prost 
An infernal coward, T fyou're not, you'll follow me, (Picks up 
Sheriffft s gun, ) 

ITelly 
what are you going to do? 

Prost 
I'm going to the jail and emptythis gun of fair play, and Jack 
Hammon my friend. Cone on, you Damned Hayseed Bluff, come on! 
(Exits L-pU.E^ Sheriff follows. iToise outside kept up.) 

ITelly 
God grant that the troops arrive in time. (Up at L-U.E. looking 
off. Pauline in white negigee appears at head of stairs R.U.E.) 

Hiss Hogg 
Ahl Look there. (I-aulice tries to descend stairs clinging to 
"balustrade. Palls into arms of Nelly and Miss Hogg who rush to 
her a ) 

ITelly 
PaulineJ Pauline! You did wrong to leave your "bed, (Noise out- 
side of bell etc) 

Pauline 
That noise? What is it? 

Hiss Hogg 
The mOb, They accuse jack Han mond of the attack on you. (They 
are oyer R.C ) 

Pauline 
Jack is innocent,, Save - save Chris, he is at the hot torn of 
the shaft, j - oh - (Half faints away.) 

ITelly 
Who is the guilty one? paulise - speak! 

Paulines 
Why - why - (Sees Begley who eiiters L«U.E. stands in doorway. 
Screams.) Ah! Take me way! Take me away! Collpasing. ) 

ITelly 
Bear her to the couch within, (They s uppo.rt her off R door. 
Bugle sounds and drum; shouts again. 

ITelly 
(Going off R.) The troop have come.; The soldiers are here* 
Jack will be saved* (Th e y exuent R„) 

ITelly 
(Outside ) You mremain here with her" Mi ss Hogg, I'll phone for tin 
doctor. You receive him when he comes, j can stand this sus- 
pense no longer, I must learn about Jack (Enters R.) 

Begley 
Jack is dead, Hel^y. 

ITelly 
Dead! (Staggers.) 

Begley 
He's just b4en lynched by the mob. 

ITelly 
My god, the soldiers -- 

Begley 
They arrived too late. Oh, believe me, I sympathize wth you 
in your affliction and what help I can give you is freely 
y ours ■> 

ITelly 
(Dazed o) Dad! Dead, lost to me/ Wen, well, I'll go to him. 
They cannot refuse to let me see him now. (Sobbing.) 

Begley 
Don't go yet. However the manier of his taking off, He de- 
s erv ed it « 



6-E 

ITelly 
what? 

Segley 
He confessed his guilt, others can corroborate what I say. His 
friends who were there, -would have saved him hut for that. 

ITelly 
He died and J. not therel He died without giving me a kiss of 
love. Oh mercy, mercy I (Falling on her knees sobbing.) 

Begley 
I own, I myself ,. who have always be ?n like a brother to him, I was 
appalled at his crime. 

Kelly 
(Rising.) He committed no crime. 

Begley 
How listen to me. he told us all. How he had quarreled last 
night with his victim, how lie had >e en secretly married to her 
two years ago. She tired of her ambiguous position had de- 
manded her rights before the world, and threatened i :." he 
refused, to ruin him with j^our father and you. Maddened by 
her words, he seized her by the throat and sought to strangle 
her to death, T t was at this moment that Chris interfered. 
Hethrew the poor helpless cripple down the shaft and then re- 
turned to complete his work of death. 
What ae Helly 

What are you saying? 

Begley 
The truth. Nelly, cane with me. This place kk can no longer 
afford security to your father or yourself. His action with 
the soldiers will never be forgiven. You will meet insults on 
all sides, come witn me. Jack Hanmond is dead. We will marry, 
and by a life of devtion and fend ernes s , I will make you forget 
this false lover, this would be assassion, this murderer of 
the mistress. He would have deceived you for 9 £puts his arm 
around h er . ) 

H el ly 
(Breaking loose.) Wretch, you have lied to me. Slanderer of the 
dead - defamer of the livingk, leave the house. T f Jack is dead ? 
I'll cherish his memory, his truth against all the world. 

Begley 
His memory J What, do you .eight my love against that, of this 
dog who confessed his guilt! Seizing her.) 

HeUy 
(Breaks away.) i/et me go I Let me go, (Rushes up to door.) L.U.E. 
beats on tke door,) It's locked. 

Begley 
Yes, I have the key. (Nelly runs to R. door.) That's locked also. 
You're shut in here with me. I tell you, you're mire , mine - 
and I'm going to have you_ (He seizes her, she tries to run 
up stairs screaming. As she reaches the top he hears noise 
at door steps, listens, drawing pistol. The window is crashed 
and John enters through it throws himself on Begley's back dis - 
arming him of pistol, which falls to stage. He throws Begley 
over R, ) 

John 
That makes things more even Arthur Begley. You've reached the 
limit, ijow, I'll give you the licking i promised and I'm 
going to give it to you good. (Begley throw's bottle from table 
at Jack who misses it. Crashes through chandelier. Jack punches 
Begley. They fightto couch together, falling over it. As they rise 
Begley goes again for bottles on table, fires them at Jack, who 
dodges and they go through mirror, over mantel. Jack retorts with 
jardirtier, masses Begley. Begley runs up the stair-way , 



7-E 

Jack afee him, hits him across the head with "bottle* He stag- 
gers "back, hut they slug each other on the stairs. Finally clinch 
going against "balustrade On L. side wh^ch "breaks with them* They 
fall to C 4 Jack overpowers Begley. Frost and Sheriff come through 
window. , r i ss' Hogg "batters down door R. appears with axe and 
lauline* Chris enters at h*ad of the stairs R U,E«) 

Chris 
Sheriff, arrest Arthur Begley, I charge him with attempted 
murd er . - 

Sheriff and others 
Begleyl 

Yes, he is the man. 



Pauline 



CURTAIN 

fi 11 ii ii it n TT 



m ooo0000000ooo~— 



SEP 18 19H 



